Question about Moraito's playing...

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Wannabee

Posts: 131
Joined: Jan. 13 2007

Question about Moraito's playing...

I've just got my copy of Moraito's music and am trying as best I can to learn.

I have some questions for some of you who have learned this stuff....

if you can spare the time.

A)

In the first Buleria... the remate parts : the rasguados are a bit different than I am used to. Some of them start ami .....(and then change to) iaiiai and end with an i upstroke on the final beat.

Other times it seems to be a straight iai iai iai all the way through...

I am a bit confused about this and wonder if it's a mistake or if there is a specific reason for the first pattern. I find the second way a lot easier to play.

B) In the rythmic parts it has a pattern imii (which I can do but it's less easy than amii). I am wondering if you guys/gals play this as written or if you change things.

C) In the vals bulerias there is a section where you are supposed to do a p downstoke across strings 6,5, and 4 and a golpe with a. This is simple enough to do, but my problem is the next part....you are supposed to do a double slur off the note on the 4th string, as that is the melody.

I can play it alright, but I can't hear the melody. It gets drowned out by the sound of strings 5 and 6. Is there some special trick to this? How can I bring the melody out more?

Anyway, thanks in advance for your replies.

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 22 2008 19:45:28

Ricardo

Posts: 14848
Joined: Dec. 14 2004
From: Washington DC

RE: Question about Moraito's playing... (in reply to Wannabee)

A.) ami-i up, is a standard triplet where you flick out and end up stroke on the next beat for a bright sounding accent. The continuous triple of i a i, is similar to a continuous amii, but that is 4 notes per beat, so with m missing, you have a triplet. So, the reason for doing ami, iai, iai, etc, is because the ami is a strong "kick off" or spring board for the iai. It is correct, fun and powerful way to do the technique. You can also do 4 notes per beat in a similar way like xami,iami, iami, i again so the up stroke gets the beat, the pinky is the "kick off" pattern on the beat, so the beat shifts after the kick off, to the up stroke. Make sense?

The other ones that have triplets but are just i a i, notice that they start on the CONTRA beat. That is important. YOu do a contra open string or up stroke, the kick off with a finger on the contra triplet.....a i, iai, iai, i. And of course there can be times you can start up with i too, but it is not as powerful as a "kick off" down strum be it ami OR the contra a i.

B.) The i..mii i, is also ideal because there are golpes going on with the a finger that make using a for rasgueado uncomfortable. Plus you can "flick" m and i into the bass strings for that particular section. mii is a triplet rhythm usually.

C) not sure of the specific section without measure numbers, but I would say exaggerate the pull-offs when practicing slow, make them percussive...they WILL come out ok. Flamenco guitar is very percussive, the notes die out fast. Percussive sounds always cut through held or ringing notes.

Ricardo

_____________________________

CD's and transcriptions available here:
www.ricardomarlow.com

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 22 2008 21:24:30

Wannabee

Posts: 131
Joined: Jan. 13 2007

RE: Question about Moraito's playing... (in reply to Wannabee)

Thank you for the speedy and precise reply. I can understand your explanations perfectly, and that's no mean feat. (I am a bit slow sometimes)

A couple of years back, I probably wouldn't have got it but you've made it very clear and simple.

miles gracias sen~or. (sorry, don't have spanish characters)

Now I just need to practice, practice, practice, practice, practice, and more... until I can make it sound like something.

Saludos

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 23 2008 2:10:37

greeny

Posts: 50
Joined: Feb. 26 2008

RE: Question about Moraito's playing... (in reply to Ricardo)

Yeah, I'd also noticed the Moraito rasgueo in the first Buleria in his Encuentro book.
Since then I've found that I'm using it more and more each day in all sorts of situations.

Now that Ricardo has also shown us a way of doing it with quadruple groups it becomes even more fun. The initial attack of the rasgueo is of a guaranteed strength and definition utilizing this technique.

Thanks for the heads-up!

Another great lesson from our "in-house" guitar-master-teacher!

Cheers!

G.

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 24 2008 10:02:44