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RE: The most difficult rasgueo?
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James Ashley Mayer
Posts: 115
Joined: Jul. 7 2003
From: Portland, Oregon
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RE: The most difficult rasgueo? (in reply to XXX)
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quote:
It is my secret hope that with each concert the (flamenco and non-flamenco) audience gets a little more sensibilized towards flamenco so that in perhaps 20, 50, 100 years, the good stuff has replaced the shallow stuff, because there is no demand for it anymore. With that i mean all kinds of "flamenco" shows, of which this "circus" usage of this technique is only a small representative, but there are worse examples of course on YouTube, which i wont post here. Are you suggesting that the use of the technique in that Juan Martin Granaina is too showy and illegitimate in some way? I don't think anything that you can control and make into music should be considered a gimmick. Tremolo would be just as gimmicky, no? What about extended legatos? It's not like he's wearing spurs and slamming symbols between his knees. Also, I thought I mentioned it already, but I have the iai iai and pai rasgueos pretty much down. They are definitely two of the easiest to learn well by counting in 4s with a metronome. When really warmed up, I can use pmp in a long smooth roll. However, I mostly use it for quick bursts.
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Date Sep. 28 2010 20:11:48
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a_arnold
Posts: 558
Joined: Jul. 30 2006
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RE: The most difficult rasgueo? (in reply to James Ashley Mayer)
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quote:
Does anyone have any tips for getting this one down? Yes. Carlos Ramos taught this trick to me. And it IS a trick. Here it is: The trick is to practice moving your pinky and your index in opposite directions at the same time. You don't need a guitar for this. Practice it while you're watching tee vee. When you straighten your index, bring the pinky back toward your palm at the same time, then do the reverse (straighten pinky, bend i at the same time. While you work on making this movement natural you can ignore a and m. Let them do what they will. Concentrate on i and e. once that movement is natural, then do the rasgueado, eami but when you get to i, do this movement you have been practicing at the end. This puts e in position in time to start the next cycle without a pause, so it sounds continuous. What am I saying. It IS continuous. As continuous as the strength of your e finger will permit. This is much more tiring than many of the easier more "modern" continuous rasgueados, and you will find that trying to do it continuously for too long will tire you very quickly, which leads to a galloping effect. But it is the only rasgueado that truly repeats the same downstroke sound continuously (that is, without interspersing an upstroke, which really does sound different). It strengthens the pinky, too, thus improving your other rasgueados. When you are new to this technique, one place to do it very effectively is to play only 2 cycles with a thumbstroke on either side to make triplets on the 7-8-9-10 beats of bulerias. Do an upstroke of p on 7, then eamieami, followed by a downstroke of p on 10. It is very powerful there, and you only have to do concentrate through two cycles. I find that many of the same people who dismiss this technique as "old fashioned" are the ones who haven't been able to master it. Techniques aren't old fashioned. If that were the case, picado would be a "stone age" technique. It is music that is subject to the whims of fashion, not technique. Let me know how you progress. Ramos taught me a bunch of tricks like this.
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"Flamenco is so emotionally direct that a trained classical musician would require many years of highly disciplined formal study to fail to understand it."
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 1 2010 1:40:45
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