Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
Juan Maya Marote rasgueado advice
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
Paleto
Posts: 243
Joined: Jul. 29 2003
From: San Diego, CA
|
Juan Maya Marote rasgueado advice
|
|
|
Hi all, Again, I am hoping to draw from the experience you guys have. I have recently experienced some problems with the Marote p,m,p rasgueo. I have noticed that my thumb catches on the downstroke far too often. It seems that it didn't used to catch that way to the degree it does now. I may have neglected it for while. At first I said well then, it's just that your nail is not shaped right, but I have done *some* testing, but to no avail. My next thought was, how is the thumb engaging or striking the strings on the downstroke (Which is where the problem occurs)? At what angle? Is that the source of the problem? Maybe... Is there anyone who feels like they can advise on this? How do you hold your hand with respect to the guitar (or also how do you hold your wrist) when doing this rasgueo? In detail, how would you describe the angle that the thumb hits the strings on the downstroke? Thanks to all, Anthony
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 20 2004 20:51:09
|
|
Phil
Posts: 382
Joined: Jul. 7 2003
From: Rota, Spain
|
RE: Juan Maya Marote rasgueado advice (in reply to Paleto)
|
|
|
Anthony, I've been working on the p, m, p ras for awhile now and I'm finally getting it down. Actually, the Marote ras is p,am,p, but p,m,p is what I see used a lot in in Jerez and my teacher uses it all the time. Merengue de Cordoba uses p,x,p on his video. So there are a couple of variations. The most important things are to resist flicking your 'm' out and to barely touch the strings. Keep your hand relaxed, but try to maintain a consistent distance between the p and m without holding them real stiff. I rotate my hand inward a bit to get more thumb nail contact, as I file my nail on an angle to get more skin contact (and less nail) when playing arpegios and the like. The movement comes from the wrist and not the fingers. The real trick is to just 'kiss' the strings and not dig in. Once you're able to do that you'll have developed some control over the volume and intensity of the sound that you want. I hope this helps some. A simple 2 minute demonstration would really help and save you a lot of time, but I don't have a video camara. Phil
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 21 2004 0:52:25
|
|
eslastra
Posts: 134
Joined: Jul. 12 2003
From: Livermore, CA USA
|
RE: Juan Maya Marote rasgueado advice (in reply to Paleto)
|
|
|
quote:
ORIGINAL: Paleto Thanks to all for suggestions so far. Actually, I do the p, am, p one more than just p,m,p. It seemed to have worked a year ago (like just before my son was born) but I seem to have probably left out some critical little detail. I do remember that it was mostly a wrist movement (as I did it before). When I can work on it, I'll focus on your suggestions. Hopefully Eddie can also chime in. Thanks again, Anthony Paleto, I've seen a couple of different ways that the Marote is executed. Some guys have a thumb that is perpendicular to the strings with a bent wrist. The thumb and fingers are mostly straight. This method is usually louder, but tends to snag the thumb more. Whenever I've tried playing this way, I'd always end up splitting my thumbnail, or watching it fly off in the distance . The other way, which Tom W. has already described, is more of a flat wrist and an angled thumb, with curved fingers. In addition to wrist movement, this type is also driven by a turning of the forearm, like turning a screwdriver. Depending on the speed or effect I want, my thumb angle changes from almost parallel (for smooth rolls), to about 45 degree (for more percussive rolls). Besides the P-m-P, I'll alternate between P-i-P, P-ma-P, P-im-P, P-ma-P, P-ax-P, and P-a-P. Took me a long time to develop these. I did this partially to get more mileage out of my fingernails, so they'd wear evenly. This type of rasgueado has a appetite for fingernails Without actually seeing your execution, it's difficult to make suggestions, but if you're snagging a lot, you may be digging in too hard. Lighten up, the fingers should just kind of hover over the strings. The less resistance, the faster the roll. And don't be afraid to experiment with wrist and forearm positions, and finger combinations. Everyone's hands are different. You have to find the exact positions and fingerings that are suited for your hand. Hope this helps. Keep us posted on how you're coming along.
_____________________________
Eddie Lastra
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 22 2004 0:21:23
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
9.472656E-02 secs.
|