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unless you want to sound the low E string, putting your thumb on it should be alright...but i'd think that it has more to do with hand size and strength plus accuracy...if you have a smaller, maybe less powerful hand, thumb on the string is definitely better, although i'm not convinced about the accuracy...but i guess it's just something that you can get used to, my experience is that my rasgueado gets messed up if it put my thumb on the E string, instead i always put it on the body, somewhere near the rosette, i can be more effective and accurate that way, but also the reason could be that i have relatively big hands with long fingers... as most flamencos would say, go with whatever works for you, as long as you get the sound right, it really doesn't matter...
Solendogan, Rasgueados which involve the lower strings usually mean using the thumb as in p, a, m, i
Rasgueados which accent the higher strings (say..Jerez Bulerias), usually just use the fingers, with the thumb resting on the E string.
Generally the "fingers only" rasgueados suit the A tunes, since the lower open E is dissonant unless you hold an Aflat/Gsharp there... and the rolling "wrist" rasgueados suit the E or C tunes.
i agree with Ron, basically if you don't want the 6th/E string to sound, such as when playing a chord of A or Bflat in Tangos/Bulerias etc, rest thumb on 6th string.... if you DO want the 6th/E string to sound, such as on an E or F chord in Solea or whatever (or an F# chord in Taranta, or a G# chord in Minera etc.), then rest the thumb against the soundboard above the 6th/E string, but NOT
quote:
on the rosetta of the guitar near the sound hole
it should really be no nearer the soundhole than half way between the soundhole and the bridge.... the nearer the bridge the better, it's more flamenco that way....
on second thoughts, i think the thumb tip/nail will probably be near the rosette if, like me, you have fairly big hands. i realised my thumb nail is nearly on the rosette even when my pinky is near the bridge
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