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Ricardo -> RE: History of Rajeo (Dec. 25 2025 17:29:59)
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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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