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I was wondering if some or possibly Ricardo can explain this. It was a member having problems with triplet ras. Mine has improved but I can always do a different way on working on it. I just want to see if I understand this...Here is what Ricardo quoted!
quote:
Ricardo -> RE: Triplet rasgueado wall (Jul. 21 2015 16:37:41) you reset think about some simple math/rhythm tricks. You want triplet technique to work as 4's? Use 3/4 meter: P-am-p-P..am-p-P-am ..p-P-am-p/ P stop and let beats 2 and 3 click by then repeat
Notice the marote happens 4x per measure even though the BEAT is felt in 3... So even if you have a Heavy P upstroke you can still get this thing to work as syncopation targeting only the Downbeat of each bar as you get faster. The metronome just helps with speed.
Does this mean you count like this in 8th notes using 3/4 meter
RE: Ricardo's Advise On Abanico Ras (in reply to Kaloguitarist)
I would say forget about subdivision of the beats. For a single triplet ras. Focus on the beat 1. You play P-AM-p-P on beat 1. Let the 2nd and 3rd beat click. Again P-AM-p-P on beat 1. Let the 2nd and 3rd beat click. Again etc....
If you want continious triplet ras. Look at 3:55-4:04. In this video he shows P-A-I triplet ras. But think of it as P-AM-p triplet ras. Ta-ka-ta Ta-ka-ta Ta-ka-ta-Ta, which is P-AM-p P-AM-p P-AM-p P
RE: Ricardo's Advise On Abanico Ras (in reply to Kaloguitarist)
quote:
ORIGINAL: Kaloguitarist It is hard for me to understand the way it look via the foro...I am also dyslexic...
Not sure my tabs look the same for everyone.
Actually the only thing you have to do is play that P-am-p role but in stead of doing 3 strokes a beat we want you to speed up a bit and play 4 strokes a beat.
P-am-p-P. is played in the first beat am-p-P-am. is played in the second beat p-P-am-p. is played at the third beat and P is the last stroke and on beat 1.
So the strokes match 1 and then the 2 and then the 3 and back to 1
Hope this helps.
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RE: Ricardo's Advise On Abanico Ras (in reply to Kaloguitarist)
quote:
P-am-p-P. is played in the first beat am-p-P-am. is played in the second beat P-P-am-p. is played at the third beat and P is the last stroke and on beat 1.
Thanks, for your patients, I will try playing in on beat
RE: Ricardo's Advise On Abanico Ras (in reply to Kaloguitarist)
quote:
I would say forget about subdivision of the beats. For a single triplet ras. Focus on the beat 1. You play P-AM-p-P on beat 1. Let the 2nd and 3rd beat click. Again P-AM-p-P on beat 1. Let the 2nd and 3rd beat click. Again etc....
Hey Devilhand, thanks for the video....I try to do both PAI and P AM P....
RE: Ricardo's Advise On Abanico Ras (in reply to Erik van Goch)
quote:
ORIGINAL: Erik van Goch
So this is the correct version.
P-am-p-P. is played in the first beat am-p-P-am. is played in the second beat p-P-am-p. is played at the third beat and P is the last stroke and on beat 1.
_____________________________
The smaller the object of your focus the bigger the result.
RE: Ricardo's Advise On Abanico Ras (in reply to Erik van Goch)
quote:
I should simply have said the idea is to count in 16th notes in a 3/4 meter :-).
Yes, I think so. A single triplet ras P-am-p-P is actually not a triplet. As we can see, it has 4 strokes or 4 16th notes.
@Kaloguitarist You can think of the first 3 notes P-am-p as grace notes. The last thumb upstroke P is the main note meaning that the first 3 notes glide into that main note P, which is played a bit accented. Make sure the last P lands on the 1st downbeat of each measure. A similar concept when you practice flamenco tremolo iami-P iami-P etc.
As for the multiple continous triplet ras in the video above, it's in 4/4 time. Each beat is a triplet (Ta-ka-ta). The first 3 beats are played as a triplet. You end with thumb upstroke P (Ta) on the 1st downbeat of the 4th beat of the measure. As written above Ta-ka-ta Ta-ka-ta Ta-ka-ta-Ta, which is P-AM-p P-AM-p P-AM-p P
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RE: Ricardo's Advise On Abanico Ras (in reply to Erik van Goch)
quote:
ORIGINAL: Erik van Goch
quote:
ORIGINAL: Kaloguitarist
But my point is Ricardo seems to indicate that rather then count as triplets...To count in 8th notes with a 3/4 meter..
I should simply have said the idea is to count in 16th notes in a 3/4 meter :-).
Correct, that is what I meant by 4’s. Groups of 4, even though the technique is triplet based, the evenness of 16ths tends to smooth out the bumps in the road. The idea of 3/4 meter is that whichever stroke you start with, that same stroke ends up as the down beat of the next measure, and as a timing exercise keeps you grounded. Also helpful to start and end with the other two strokes (p down or am), so rhythmic control of each stroke is developed.
Similar to the picado phrases at the end of Zyryab.
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