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Ricardo -> RE: Abanico subdivision (Jun. 26 2024 19:22:08)
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quote:
What puzzled me was I always thought all strokes in paip or pai must be distributed evenly because abanico or rasgueados are usually played fast, particularly in Bulerias.
Honestly man you need a teacher. Speed of execution has nothing to do with the palo tempo, but of subdivisions of the beat. (Remember Rhythm dog? I guess you thought it only a joke but it was what you need). Drum sticking are taught as rudiments, and rasgueados are similar. Various rudiments are the language of subdivision and can be applied infinite ways.
The thing you are all into in this topic is the exact same technique we already discussed by Manuel Valencia (although he used a variant with m finger involved, it doesn’t change the musical function). Examples here are erroneously using c (pinky finger) which is not standard (comes from Paco Peña but I can show unique examples where PDL actually uses the pinky…it is an obvious difference). All the ones in this topic should be P up, A down, i down….that is a gallop rhythm, an isolated “rudiment” if you will, what happens next (usually some form of up stroke with either P or i), is arbitrary. I am not going to waste time going through the video you show of some live IMPROVISED performance to show all the occurrences of the same darn rudiment used again and again. I already showed you in the other thread with other palos how the galloping thing is done. Abanico just means “fan”, and has nothing to do with subdivision or sequence, it is generalization about the wrist and thumb involvement with rasgueado that is otherwise done stationary with just fingers. Again, please invest in a guitar and a teacher, it has been years.
quote:
That means pai are grace notes gliding into the last P upstroke.
The last upstroke P lands exactly on beat 10.
False. You can’t read the score properly, and maybe a general music teacher can help you. P and a are the grace notes, but not really as they are strict and deliberate subdivisions…grace notes are a loose classical interpretation of subdivision which can be fudged in various ways. This is not open to interpretation. P-a are leading into count 10 which is the index finger down stroke. In the case of the manuel Valencia this same “gallop” rhythm would be a faster triplet version where p-a-m are the triple, and i down is on count 10. This basic gallop is the rhythm concept of literally dozens of basic palos such as fandango, Sevillana, Abandolao, Tangos, and etc. Basic general compás patterns use it incessantly. The fingers-only equivalent is i up, ami down for triplet, or i up, a-i down for the gallop, such that the abanico is the same rudiment but replaces the i up with P up, that is all.
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