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Morote triplet -area of attack   You are logged in as Guest
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JasonM

Posts: 2068
Joined: Dec. 8 2005
From: Baltimore

Morote triplet -area of attack 
Estebanna and I have been working on our Morote as you know, and I have a question about attack area.

I have been doing an exercise where I fret a chord that uses the middle strings only and leaves out the low E and high E strings. But, I only fret lightly so as to mute those strings. Then I only try to hit the muted 4 middle strings.

Essentially, leaving the top and bottom in muted lets me know when I hit them because they will ring. I think of it as playing the old Operation board game.

I have a hard time not hitting the high e on MA down. Question is, is this area of attack practice important to developing conservation of movement and speed, or is it just a matter of dynamics, and not nessicarly improving my rasqueado. Yes I also practice this with a metronome.
  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 9 2015 22:25:25
 
Ricardo

Posts: 14889
Joined: Dec. 14 2004
From: Washington DC

RE: Morote triplet -area of attack (in reply to JasonM) 
Depends on specifics. In the end you just need to make the sound you want deliberately and with controlled rhythm

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  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 10 2015 16:07:44
 
JasonM

Posts: 2068
Joined: Dec. 8 2005
From: Baltimore

RE: Morote triplet -area of attack (in reply to JasonM) 
Thanks. I suppose it is something worth practicing? Kinda how we only hit a few strings when doing a basic amii rasgueo- most of the time. It makes for less of a "mushy' sound. I was thinking the same might apply to triplet much of the time.

I'm also struggling a little with keeping track of 32nd notes. When the tempo increases its easy to do 16ths. But can you sound out 32nds 1 y & a 1 y & a 2 ? When things speed up.
  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 11 2015 19:38:45
 
Miguel de Maria

Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ

RE: Morote triplet -area of attack (in reply to JasonM) 
Practice everything. It's all part of being a musician.

32nds have a sound and a feeling in the hand. When you are familiar with that, you can speed up. No need to count at that point.

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Arizona Wedding Music Guitar
  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 11 2015 20:51:51
 
JasonM

Posts: 2068
Joined: Dec. 8 2005
From: Baltimore

RE: Morote triplet -area of attack (in reply to JasonM) 
Miguelito thanks. Yeah I know what you mean by the 32nd note sound rather than trying to verbalized it. It's just that when it reaches the tempo I start to say to myself "it sounds right" but am I rushing by a 64th at some point" so at that point I try to slow down.

Also I'm working on taking tension out of my hand and playing with different distances. So many variables. Occasionally I get the sound I want for a few notes and then I'm searching for it again.

Anyhow, I know I'm making a big deal about this technique. But it has baffled me since I started playing back in 2000. Maybe if I had practiced with a metronome everyday I'd have killed it long ago. But it's the mechanics of it. Alzapua is another very mechanical technique and I got that quick.
  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 12 2015 17:52:42
 
JasonM

Posts: 2068
Joined: Dec. 8 2005
From: Baltimore

RE: Morote triplet -area of attack (in reply to JasonM) 
I think one issue might be my set up actually. It's easy to blame my guitar, but my action is Super low on the treble side. In other words the saddle slope is greater than many guitars. I did this way back because of a nerve injury and week left hand strength. And I've never been comfortable with the 660 53 set up on my RSC guitar. My Yamaha cg171 is easier to play. Point is, the slope is requiring me to compensate my wrist. A more flat set up is easier. So I'll be cutting another saddle to see if that helps.
  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 12 2015 18:01:31
 
Miguel de Maria

Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ

RE: Morote triplet -area of attack (in reply to JasonM) 
Hmm, personally I would not worry about dropping or adding a 64th once in awhile, if "it sounds alright". After all, "if it sounds good, it _is_ good" as Ellington, I think, said!

Changing the saddle might help a bit, but I think it would be better to work on it on different guitars until you find the essence of it. Then you can transfer that to whatever instrument you have. I gig on a thinbody Cordoba with normal tension strings and play a rather thick negra with low tension strings or a blanca with high tension at home. All totally different! I feel it's good to rotate and then be able to "port" things as needed. In fact, even playing the ukulele obsessively has helped me. The normal way to do a roll is im, just up and down, really fast! I found that you had to really relax the finger and kind of let it drag through. At high speeds, like 32nds at 100, I guess, you do add in a bit of tension. It is a whole weird feel I had never experienced on the guitar. But it really taught me how relaxation feels, and now I have been productively using that and finding all these kind of energy-sucking tensions in my guitar playing. It's fun, like a new window being opened on my playing.

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  REPORT THIS POST AS INAPPROPRIATE |  Date Aug. 13 2015 18:29:30
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