p-a-i abanico volume vs other

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turnermoran

Posts: 391
Joined: Feb. 6 2010

p-a-i abanico volume vs other

please share thoughts on the volume you get from the p-a-i abanico rasgueado (or p-ch-i) vs other triplet rasgueados.

for me, it's the weakest in volume. My other 2 go-to's are the 'marote abanico'
(p - m+a - p | sometime p - m - p) or a straight forward a-m-i (non-abanico). Sometimes I'll use the a-i-a.(also somewhat quiet)

nature of my question is triplet rasgueados in the end of bulerias compás á la Paco. He uses lots of these p-a-i and p-ch-i.
Tons of volume for him as well as every pro I hear. Yet mine sounds anemic. yes, yes - I'm not Paco. But it seems standard fare that most pros develop very strong p-a-i abanicos.

because I'm snapping my regular rasgueados off the pad of my thumb and getting lots of power, the abanico type seems wimpy in comparison as I'm using only wrist rotation and finger strength, without the pop from the thumb pad I get w/ normal rasgueados.

body mechanics suggest to me it's going to be difficult to get them all of the same volume, but is this exactly the training I should be after? Or is it accepted that the p-a-i will never be as loud as a 'marote abanico'?

thanks in advance

REPORT THIS POST AS INAPPROPRIATE | Date Nov. 6 2013 20:52:56

ToddK

Posts: 2961
Joined: Dec. 6 2004

RE: p-a-i abanico volume vs other (in reply to turnermoran)

My p a i rasgueado is my loudest one.

I thought that was the case for everybody, but i guess not. LOL

The reason i think this, is because instead of flicking, i'm using the full
weight of my hand and some power from the wrist as well.

The flicking ras is not quite as loud for me, but its more articulate due
to the sharper more acute transient.

I use p a i for continuous ras as well. It takes alot of practice to get it totally even though.

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REPORT THIS POST AS INAPPROPRIATE | Date Nov. 6 2013 21:47:49

Ricardo

Posts: 14828
Joined: Dec. 14 2004
From: Washington DC

RE: p-a-i abanico volume vs other (in reply to turnermoran)

Common problem, don't feel alone. I try to get students more heavy handed using the wrist. Do this a lot:

i down, use entire wrist LOUD, then p up very strong. Keep the hand closed sort of, i and p can touch sort of like holding a pick. Now repeat BUT.....leave a pause on your up stroke, so your hand is suspended up in the air. So you have a swing going....da DAh... daDAH....daDAH..... etc Get it going pretty quick and loud. Learn to feel the beat on the up stroke, where you have the pause, so your down stroke i is the pick-up swing note.

Now after a lot of practice with that and you can control it, with your P up in the air, simply flick the a finger out. Don't move your wrist or try to do loud, let it be soft. It's ok at first. Now do the other rhythm, but stop when you flick the a out. i down, p up (daDAH) then ring right away flick it out (bing). so you have this rhythm daDAH bing....

Keep doing that awhile THen when you can do it where you are flicking a as I said and not moving wrist, follow with the i down again, hard like before. so it's i-p-a-i....daDAH bing dah.....

after you get that, add the final P stroke so you have this rhythm....daDAHbingda DAH!!!! so you got at least ONE strong triplet, plus the pick up note.

Then go back to doing that swing with the wrist, but keep it going like a groove. daDAH daDAH daDAH....and every few beats toss in the ring finger to fill the triplet sound. You will impress yourself with your volume and the ring finger being weaker is not noticeable, because the momentum and groove of your wrist action. then try two triplets in a row, always going back to the swing groove. EVentually you will be able to maintain the volume and keep the triplet going and going.

Ricardo

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REPORT THIS POST AS INAPPROPRIATE | Date Nov. 10 2013 14:35:21