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The Art of Rasgueado - Anastassakis
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Thomas Whiteley
Posts: 786
Joined: Jul. 8 2003
From: San Francisco Bay Area
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 RE: The Art of Rasgueado - Anastassakis (in reply to Paleto)
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Anthony;
I believe the author was a student of Juan Serrano at one time. I do not have the book but our son is getting it for me. This should be an interesting piece of literature. Things of this nature interest me.
The rasgueado is one of the guitar techniques that makes flamenco music unique. Some teachers insist there are only two or three rasgueado techniques. As an example I know of teachers who only play A,M I rasgueados, and condemn others (especially their students) if they are not emulated in the most strict manner.
I once did a simple study of flamenco from the beginnings of this music form. If you follow the available literature you can determine who contributed what technique to flamenco guitar. What follows is some overview of the development of flamenco guitar technique.
Originally, the guitar was held in the lap with the neck pointed up, and strummed.
Several people contributed to the advancement of guitar technique and Ramon Montoya is among them. Montoya introduced techniques from classical guitar developed by Francisco Tárrega, such as arpeggio, tremolo and picado. Picado apparently began with the pulgar or thumb. Sabicas appears to be the first to use indice, medio for picado.
Mario Escudero introduced a more classical sound into flamenco.
As flamenco guitar music developed there were many techniques used. The reason for this is simple: There was no literature, or media to transmit different ideas. You created your own technique.
Each family, neighborhood, and community had its own way to create flamenco music. Today we have the advantage of taking the best techniques and using them. We can share through media what we have learned and know.
Juan Serrano plays a unique rasgueado, and the reason is simple. He said his father taught him. You will not find it in common use by others.
My personal thought is to play a technique that is within your abilities and sounds correct. Knowing what others have done can only help you. There is no one way to do anything in flamenco. Find your own path - that which is most suitable for you.
_____________________________
Tom
http://home.comcast.net/~flamencoguitar/flamenco.html
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Date Jan. 3 2004 17:10:56
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: The Art of Rasgueado - Anastassakis (in reply to Paleto)
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What really fascinates me is that a loud, fast, good tone can be made on the guitar using such a variety of fingers, techniques, physiologies. It seems that there are many ways to skin a cat. What do all great guitarists have in common? I would say ease. They have perfected their system of playing to such a great degree that it is effortless, as easy to hit a loud golpe superior as it is to say Ole!, as easy to do a five stroke as to say ta da da da. They have found ways that are efficient and effective within their own scope. His little finger may fly, but it is where it needs to be when it needs to be. Or when he plays picado, his little finger sticks out stiffly, but he has found a way fo playign where it does not overly impair him.
The paths on the guitar become well worn and practiced. The fretboard stops looking like a mysterious abacus and more like a book, already memorized through many rereads. One does not have to hope that a desired effect takes place--the will to produce the effect invariably makes it happen.
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Date Jan. 3 2004 17:27:36
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Paleto
Posts: 243
Joined: Jul. 29 2003
From: San Diego, CA
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RE: The Art of Rasgueado - Anastassakis (in reply to Thomas Whiteley)
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Tom,
My thought was to learn some different rasgueo patterns. I use 6 different ones (6 different combinations of fingers), each yields a different effect, as probably everyone here knows.
I would like to add some more to my repertoire, as well as pick up some good ideas for practicing rasgueo. I have found that I can get a pretty good sound from the ones I have learned if I practice them regularly with a metronome.
You are right, there's a bio on another page which says Anastassakis was a student of Juan Serrano. But if you peruse the contents, there are a lot of rasgueados there, not just Juan Serranos, and I once looked in the book and most are attributed to their likely origin, ie. person.
It seems like a useful book for those who care.
It could generate some good discussions between those of us who want to read it and learn some new things (or old things).
Anthony
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 4 2004 1:41:19
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