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.
Sometimes when I do a Flamenco "roll" (the 3 finger, continuous rasaguedo) it dosen't come out right and there is a sort of "bumpy" feel to it rather than a smooth roll. The "tac, tac, tac" sound, perhaps from my thumb and the bass, seems to punctuate and interfere with the flow. Sometimes it comes out right. I have no real consistency here and I cannot isolate the specific cause. Has anyone experienced this before? Does anyone know why this might be happening?
I note that the area below my thumb tends to be stiff and a little sore after a while of doing this, I do not know if this is a sign I am doing it wrong.
try changing the angle of attack,wheni started first i was doing the strikes i did them almost vertical to the strings, then i changed to 45 degrees to the string and the sound improved it also had a much more sweeter percussive bite.your thumb should be anchored to the top e string in the beginning to build up stability in playing.
also rasgueo takes a while to build up the muscular strength for a nice even tone.
Don't you begin the cascade with an upstroke from the thumb? I'm referring specifically to the rasaguedo that goes p,a,i,p,a,i with the p going up and the a and i going down. That one with the continuous motion.
"Andalucian cascade"? Ryan, your gift for words is truly spectacular. I thought this was simply a version of the "Marote rasgueado". Supposedly Marote developed it because of a deformation or injury that didn't allow him to execute the traditional ras. Also, he supposedly got the idea from watching Mariachis strum. Although in Paco Pena's book, there is a claim that he invented the pxi rasgeuado, which is basically the same thing.
Marote rasguedo eh. Now I know where it comes from. I only used the term Andalucian Cascade because that's the term used by the person who taught it to me.
Yes I read in the student repertoire book that Paco Pena says to use the pinky instead because it makes it smoother. However, I am more used to doing it the Marote way. Anyhow, is there a reason why it's not smooth sometimes?
id do this rasgueo in tangos quiet a bit p a m i depending on where i land in the phrase, ive done a triplet rasgueo with just m i i, which is tricky but i though you meant in your orignal post the fixed a m i rasgueo.
btw here a link for lesson on flamenco-teacher.com which may help.
I learned the family of strums using the wrist movement as "Abanico" or fan. P up, a down, i down is one of the main abanico strums. The one called "marote" I also consider in the family, but refers specifically to p up, m or am together down, p down. These are all triplet based movements. To smooth out uneveness, think in terms of even rhythms not triplets. 2,4,or 8 notes per beat. For p,a, i,p, a, i, it is important that p and i move together downward which keeps the hand closed.
For p, am, p, p, am, p, the fingers move down but the thumb stays up, opening the hand.
i prefer p a i than p m p ,for me it's smoother and cant control better what strings I hit. P m p it is said it is a lot faster ,so I guess both should be learned .
But I think u also need a 3 stroke rasgueado without p like: a i(down) i (up ) or m i(down) i (up).
Also another 3 stroke rasgueado but tricky is : p (up) ami (together down). As u notice u have just 2 strokes so to make a 3 stroke u will have to know how to accentuate .
I mean P ami p Ami p ami P.This should sound Ta-ta-ta-Ta-ta-ta-TA. I have troubles with this one also ,but doing rasgueadoes like this helps in my opinion to get some good wrist movement.
Ricardo's advice to count in two the 3 stroke rasgueados (btw,also called tresillios. The marote is a tresillo for example,anyway the name is not important) is good. My advice is do not try to play 20000000000 continuos rasgueados,that wont help. Try do to little rhytm accentuating with a last movement .Instead of doing many continuos rasgueados try to do just one or a couple ,but fast.
Example : Ta-ta-ta -TA or Ta-ta-ta-Ta-ta-ta-TA It is not that important after all to be able to do for half an hour continuos rasgueados,if u look at a buleria ...u'll see that more important is to do quick and short ones.Anyway,take it slow...and exercise on your jeans when u dont have a guitar,that worked for me