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a-m-i-i, a-m-i-i, a-m-i-i, i HELP!
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rombsix
Posts: 7815
Joined: Jan. 11 2006
From: Beirut, Lebanon
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Ailsa)
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Hey Ailsa, I have a couple of suggestions: 1- Try to feel the accents of the rasgueado on different finger strokes. Like this: A-m-i-i, a-M-i-i, a-m-I-i, a-m-i-I. 2- Try to start the rasgueado on different finger strokes. Like this: a-m-i-i, m-i-i-a, i-i-a-m, i-a-m-i. 3- Try to file your nails really short so that they don't make string contact annoying. 4- Practice it slowly, then build up speed. 5- If you do all the above for a long enough time, and still feel it as being uneven, then try the five-stroke one using the pinky finger: e-a-m-i-i. Hope I helped!
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Ramzi http://www.youtube.com/rombsix
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Date Feb. 17 2008 20:54:30
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Pimientito
Posts: 2481
Joined: Jul. 30 2007
From: Marbella
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Ailsa)
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Hi Ailsa. It's tricky to start with. The overall effect you are trying to acheive is an evenly spaced rasgeo where there is an even gap between each stroke. The starting position is crucial. I start with my thumb resting on the body of the guitar, just above the sixth string just behind the rosette. The a,m,i, form a loose fist with the finger nails tucked against the fleshy part of the thumb (called the thenar eminence). From here the trick is to flick the (a) finger over the strings leaving the other 2 fingers in place, then flick the (m) leaving the first finger in place and finally the (i). Each finger should strike the 5th string first. When you bring the i back again as an up stroke, the other fingers go back to the original starting loose fist postion at the same time. There is a gap initally whilst you set up for the next rasgeo but dont worry...its better to practice this way and get it right. The gaps WILL get less and you can then practise putting 2 and then 3 reasgeos together. A variation on this that other players use is a slightly different starting position. Instead of making a loose fist, the first joint (phalanx) of the thumb is bent slightly and the 3 finger nails are resting against against the fleshy underside. From here the technique is identical, flick seperately and return to original position. I would suggest maybe trying Ramzis exercises once you can do the technique a bit better and have got used to independant flicking of each finger.
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Follow my blog http://pimientito.wordpress.com/ "Ceremonial" by Mark Shurey "Pimientito". CD and digital download vailable on Amazon and CDbaby. http://www.cdbaby.com/cd/markshurey
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Date Feb. 17 2008 21:00:37
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NormanKliman
Posts: 1143
Joined: Sep. 1 2007
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Ailsa)
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Hi Ailsa, Looks to me like very good advice from Ramzi and Pimientito. You might find the a-i-i rasgueado useful for gaining in a/i articulation. I tend to use it more for the beginnings of compases, like beats 1-3 in bulerías, and rarely for endings like this other rasgueado that's giving you problems. Nonetheless, you can try working it into your bulerías in order to observe what's happening in your fingers. A typical way to use it is to play a-i-i, a-i-i, i-i over beats 1-3 on a B flat chord consisting of the open fourth string, the third and second strings at the third fret and the first string at the first fret. Since you'll be playing tighter i/a combinations, it sort of concentrates and focuses on this problem. You want to "lead" with your ring finger, but the index has to be right there behind it. In this sense, my ring finger moves much more than my index finger. Edit: I just noticed that I'd written "index moves more than my ring finger." It's the other way around, as indicated above.
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Date Feb. 18 2008 2:23:07
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Pgh_flamenco
Posts: 1506
Joined: Dec. 5 2007
From: Pittsburgh, Pennsylvania
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Ailsa)
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I tried posting this yesterday, but didn’t have any luck. Oscar Herrero demonstrates this technique in Paso a Paso Volume 1. I know you have a teacher, but instructional videos can still be useful—possibly even more useful than a teacher for some people. As your technique improves you can refer to the video for additional information that wasn’t obvious to you earlier. In the section entitled “Rasgueos without the Thumb” Herrero describes this technique in great detail. He demonstrates these techniques slowly on muted strings, then quickly on muted strings and finally with a chord starting slowly then gradually increasing speed. Some tips from the video: A. Starting position of the fingers: Only I and M are drawn into and against the palm—A and Q do not touch the palm. B. He suggests the “double movement” of retracting the extended fingers when I does the down stroke. C. Only the two or three lower strings of the chord should sound. Three Stroke (two-finger) Rasgueo: 1. M down 2. I down while simultaneously retracting M, A and Q 3. I up Four Stroke (three-finger) Rasgueo: 1. A down 2. M down 3. I down while simultaneously retracting M, A and Q 4. I up Five Stroke (four-finger) Rasgueo: 1. Q down 2. A down 2. M down 4. I down while simultaneously retracting M, A and Q 3. I up
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Date Feb. 19 2008 3:08:04
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Stu
Posts: 2537
Joined: Jan. 30 2007
From: London (the South of it), England
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Pgh_flamenco)
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OH my God!!! I've been trying to post for days and it won't let me, its so irritating!!! Anyway hope this works..... I think all the exercises I was gonna suggest have been said. the only thing I can add is that one thing that helped me develop a smooth rasgeuado and still helps it improve is practising without the guitar. On the bus, at work, in the pub, anywhere even walking down the street. find a surface to give some resistance then flick away, if there are no surfaces use your own leg, and failing that use the base of your thumb to flick out from. Stu
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Date Feb. 19 2008 23:39:26
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Pgh_flamenco
Posts: 1506
Joined: Dec. 5 2007
From: Pittsburgh, Pennsylvania
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Stu)
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quote:
On the bus, at work, in the pub, anywhere even walking down the street. find a surface to give some resistance then flick away This is a great idea and something I've always included in practicing rasgueo. I prefer softer surfaces such as my pant leg, the edge of a cushioned chair, pillow, etc. This is good exercise and causes little if any wear on the fingernails.
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Date Feb. 20 2008 1:49:37
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John O.
Posts: 1723
Joined: Dec. 16 2005
From: Seeheim-Jugenheim, Germany
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Pimientito)
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quote:
I find that to bring the (a) back as the (i) is doing its downstroke to be more difficult There are lots of ways of learning it, different things work differently for different people. I actually taught myself this way, teach it to my students and it closes the gap right up: Hand starts diagonal to the strings, about 45° in the neck direction, a stroke, m stroke, during the i stroke down you bring the a and m up and change the hand angle so your i finger points directly towards the floor, i finger up and hand angle back to 45°. With this technique I can do an even, fast rasgueado camii, amii or mii no problem. (I just saw Pgh_flamenco already beat me to this...)
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Date Feb. 20 2008 20:33:00
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Pimientito
Posts: 2481
Joined: Jul. 30 2007
From: Marbella
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RE: a-m-i-i, a-m-i-i, a-m-i-i, i HELP! (in reply to Pgh_flamenco)
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quote:
Pimientito, what do you think of practicing slowly using the method Herrero suggests and when practicing quickly not paying much attention to retracting the fingers when I is extended? I think that slow practice with the retraction of Q, A and M would work its way into the technique when executing it at a fast pace. In general, I dont see a problem with using his technique if you can get it to work. Personally, I never use Q (little finger) for ANY technique in my playing. This is an old arguement on the forum but my reasons are basically 1. I can't grow a strong fingernail on it. 2. It's comparitively weak compared to the other fingers 3. Rasgeo with Q is weak compared to p, ma, p,p for example 4. You can make all the rasgeos etc. perfectly well with a,m, and i 5. Lots of other players dont use it either including Gerardo Nuñez who has some of the best technique there is. I guess I have been playing a,m,i,i amd a,i,i rasgeos now for about 10 years and changing it at this stage would be kind of tricky...especially now that I can get a clean continous rasgeo with my technique....however I suggest that you can try my way...see if it works for you, if it doesnt look at Herrero or Cepero and see if that is better for you. There is no one true way. As long as you can get a clean, even, strong sound, you can follow, adapt or modify the technique of anyone to suit yourself.
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Follow my blog http://pimientito.wordpress.com/ "Ceremonial" by Mark Shurey "Pimientito". CD and digital download vailable on Amazon and CDbaby. http://www.cdbaby.com/cd/markshurey
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Date Feb. 27 2008 23:53:32
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