Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
I am just starting to work on a very basic Alegrias but what I am noticing, from what my teacher is showing me and the videos I have seen, is that most people use the a m i i rasgueado whereas I am being taught to use i s a m (btw what is the pinky finger called? I have seen it referenced as e, s, x, q). My teacher doesn't seem to use a m i i at all, is his way more *old school*.
I also seem to be pretty comfortable using the a i i triplet as opposed to using p a i and I have yet to see anyone using that one.
While I know there are no right and wrong ways per se, I do notice a majority of people using a certain technique over another.
Today most players use a m i i , a m i i.... and so many other ras. f.e. i i a, i i a or p a i, p a i. But there are tons of other ways doing ras.. We have a big threat about that theme. The best way is to learn all rasguados. Than you can choose by yourself which you like most. e s x q?? p pulgar i index m medio a anular s-small finger?
ORIGINAL: TGerman I also seem to be pretty comfortable using the a i i triplet as opposed to using p a i and I have yet to see anyone using that one.
Triplets with P always sound different and can reach higher maximum volume. I guess it is always a mixture of what sound you want to have, and how complicated it is doing that movement in a piece, where you have to adjust it to the things you play before and afterwards. Ive heard that they also use pmp as quartet instead of amii or whatever.
Anyway, the pattern i c a m, is one that Juan Serrano uses, I believe. It's pretty awkward for me, but he gets a great, great sound out if it.
Yes, that is only one that Juan uses. It took me a few days to learn the various ways that Juan plays rasgueados, but then Juan was one of my teachers.
Juan learned the i, s, a, m, i rasgueado from his father. Remember that Juan has accompanied some of the most famous dancers and singers in the history of flamenco. He will use a rasgueado that complements the performer. His approach also has some very real advantages compared to other rasgueado forms.
For those that are interested I have a document called "101 Rasgueados", available from my web site.
The "correct" rasgueado to use is the one that complements what you are playing.
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread