the description text in Tresillo IV, which relates to the spatial distance, I have not really understood. But even then helps the Maestro - I'll try again to give my physics and math comprehension: If you look at the video tracks to the Tresillos in slow motion, can be clearly seen that the distance between the thumb and fingers decreases with increasing speed and motion, so the amplitude of the tangential motion is small. The problem with beginners (including me) is that the position of the fingers / thumb of Geschwindkeitsänderungen is not balanced yet. Until this is developed a certain feeling is to take alleged. So as long as possible to practice slowly. Applies to any technology - say the experts.
to tango with compas-Tresillos
As if Tresillos (which here, as correctly mentioned in the book are none) should run fairly, we apply it in Naino IV. In my opinion it sounds much better, at least for me.
to Solea compas with Tresillos I
first I thought: Wait a minute - that's probably a mistake in the book. The heading is "Solea compas with Tresillos I and III is applied Tresillos. But I was informed, there is a typographical error, it should be called "Solea compas with Tresillos (Exercise I - IV). Okay - the I I practice with Tresillo II, with I transition at the end of Remate 'm just not fast enough.
to Solea compas with Tresillos II
This exercise is technically very good - it's really tricky rhythm (two 16th note triplets and then four 16th).
to Solea compas with Tresillos III
The Tresillo with mii was in the exercises not treated. But why not? Basically it is a amii -rasgueo without a ;-)
to Solea compas with Tresillos IV
Well - in the Soleá quite a lot is on offer in terms of the Rasgueos. The paip is only very slowly. This requires much more practice in my effort as all the others. Similarly, the transition to Remate - Arrrgh $ ° inevitably reminds me of the movement to a
plumero
(duster). Somewhere on the web, I read the term
- abanico
- (= subjects, and as the hand moves as the waving of the subjects). A couple of days I was with the pulgar (thumb) does not play because of a giant bubble. My father (once played bass-guitar) said: The blister with a needle puncture at the edge, push out the liquid that 1 Rankommt air, but no dirt and 2 the skin as quickly as possible and replace the new, and even cornea forms. Said - done. It was related to pain, but now I feel almost nothing.
The Sequence: a 
Tresellios
I practiced the most, not because it was the best, but because I like it best. Yes I know we should all exercise a certain time in order to form an opinion, but I and II are for me the favorite. Tresillos III Tresellios 
me is really soft and also, I put the Meñique (pinky) always never happens. Tresillo IV still needs some time, but not bad. man-o-man - but it will take until the running to some extent, and sounds like on the DVD. Primarily because it actually sounds like a triple - so: TaDaDaTaDaDaTaDaDa ... We had been in music education, that the start and end should be to recognize a triplet. The ancient rock-n-Roller played with a pick a (1) off (2) On-(3) down movement, so 
with emphasis on (1) In 
Tresillos a is the emphasis by the ma-ma tee p p
at Tresillos II p
ma p
following told me today Graf-Martinez via yet iChat (he works on Mac, we can now, after our acquaintance, communicate via video chat - yay, so he can give me now and then a little lesson - yes that's really great!) Since the triplets games is also a mental issue, it would be very entscheident that you also always the beginning of the triplet feel (ideally, the listener). To do this for yourself helps to practice the following exercise: [ ma pp ] [
ma
pp ] [ ma pp ] [ ma pp ] [ ma p p ] [ ma p p ] [ ma p p ] [ ma p p ] So after several [ ma pp ] change over to [
p p ma ] , Suspend without. This exercise is really cool and is also the school ;-)
Did I once looked at the 
umpteen times 
