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I am looking through a method from 1860 that only refers to a golpe and what seems to be pimax, which would be backward (a la Ben Woods - didn't know him personally but a friend of friends, DEP).
For whatever reason you forgot to provide the source of this, I finally found it today:
It seems that they were keeping costs down by printing a "series" of short books. The "Metodo facil" was also a good one, fandango (p.19) Soledad (p.22) and other palos, however not done with strumming just arpeggios and Picado and such.
It seems that they were keeping costs down by printing a "series" of short books. The "Metodo facil" was also a good one, fandango (p.19) Soledad (p.22) and other palos, however not done with strumming just arpeggios and Picado and such.
My interpretation of the Rasgueado description of Rubio, is the "glope" refers to strumming across the strings with the thumb, so the "sencillo" on each beat down strokes are with thumb. For the "doble" the fingers strum upward all together (rather than what Ocon and Marin describe using only index upward). Pulgar down, he clarifies, might only catch the low strings at times. The Jota and Fandango also use the "tap" with the first "golpe", so the downbeat 3/4 thumb stroke "near the bridge" (away from the sound hole he means) where the finger tips (no nails are implied to be long enough for our modern "golpe" tap) land on the soundboard at the same moment. Obviously Ocon missed that in his score, but it is implied via accent marks IMO. Rubio makes it sound universal. Romerito and I already discussed fanning the fingers (Rubio says iamc or the reverse, as we discussed is the "Graneado" of Marin, and the method described by Ocon).
Based on the chord voicings (bass note and high chords of three notes on the trebles) his term "pulsación" refers to plucking the chord rather than strumming.
His Rondeña (malagueña as per Ocon "malagueña rasgueada" but por medio) has an interesting pattern in three as p down, fingers up, p down, repeat. While the colpa he uses is correct and predates Arcas and Ocón, it is next in line from Maximo Lopez and the Cristina Borbon piano book with Rondeña of 1830.
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