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I've been working with a solea and I want to know how you guys aproach the solea rasgueado in F, It's usually quintuplets starting with the 4(small right hand finger)then 3 2 1 1 My aproach is to practice it with the accents in groups of 3 2 feel and a 2 3 feel, I think 3 2 gives it a little more flow, this could also be aplied to tremolo...what you think would be the best aproach??
ok , my experience on e (dn) a(dn) m(dn) i(dn) i(up).
dont know the answer ,didnt get too much thought to this .I think my 5 stroke (eamii) rasgueados,are smth like a 3 2 ,e a m .. i i .I pause intentionally a little between the eam and the ii,i didnt study like this ..just like to start the rasgueado slow and then the last i i strokes to do it fast(it's like i dont know ...smth like (what's the word) ritardando). I guess that it's aplyable to tremolo and this is a good point ...probably this will be what some call it "letting it breath" .
good continuous rasgueado would be nice too ...I mean two 5 stroke rasgueado without feeling the interruptions between the first quintuplet and the second one would be cool too. ,I cant do this very properly ...cause I dont study this at the moment,but in the Dennis Koster's "keys to flamenco" he says to practice like this : Eam Iie Ami Iea Mii.So practice 3 five stroke rasgueado, like 5 three rasgueados(the capitalized letters shows how the accents must be placed).This should help u to be able to accentuate with every finger.I tried that and it is getting better,so that's good advice to me.But there is another catch if u really want to have it the sound continuous.
for example this solea example (the first bar of a soleares ) X 0----0--------------------0----0------------------------------0- 1----1----1-----1----1---1----1----1-----1----1------1-----1- 2----2----2-----2----2---2----2----2-----2----2------2-----2-- -----3----3-----3----3---------3----3-----3----3------3------- -----------0----0--------------------0-----0------------0-------- ---------------------------------------------------------------------- e a m i i e a m i i and i i
If u succeed to hit the strings like that ....he says u'll get more continuous rasgueados.That's his advice and I believe him but I also believe , u got to spend some time to polish this rasgueado...and I dont wanna do that now.
What Koster said is true, if you don't hit the i string like you wrote, it makes a big difference. You also should practice the eamii in different rhythms such as triplets, sixteenths, eighths to get more control.
I think you guys are complicating this thing way too much. I just do a continuous four or five stroke, finished with an “I” downstroke on the C then the same on the F.
E a m i i E a m i i I i
or
A m i i A m i i I i
Bold letters are the beats with the accent falling on the down stroke I. It falls perfect in the count and you get a nice down stroke with the “I “ on the accent. The last "i" is an upstroke on the "and" of beat 3.
I dont think so , that's what I initially thought ...but believe or not , things like that can be controlled.And it's very logic to be this way ,all u do with Eam Iie Ami Iea Mii is just play triolets in another way, there is no reason why it should not sound right After all , you do the same thing when u practice tresillos only that u use p a i or whatever. That exercise is good for making your hand to be able to accentuate when u want to. Sure,it looks scary but 5*3=3*5 that's almost kindergarden math.So practice three 5 stroke rasgueados as a five 3 rasgueados(sounds like a joke....btw after that practice 2,14285714...*7=15 )
All this discussions arent about if it can be done ....it's about will the effort pay off eventually ,will u play better if u invest some time in these exercises?For me ..this helped IMHO.
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