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He’s got his thumb anchored in the right way in the right place. Take his advice, and do it just as he is showing how. As you can tell, his rasgueo sounds good, so the proof is in the pudding. Thanks for posting Diego!
I agree also ! No one lays it out in the very specific detail and as well as you just did. Many assume somehow that one would know the exact Thumb/Finger placement for bass or treble sound; how to hold the tension at edge/middle of the nail. No one mentions the tension in the hand that beginners feel and that we need to try to relax the hand. The timing is layed out so well also. Thanks for answering questions that I've had for a long tiime.
Thank you so much Diego. I enjoyed your lesson and your website is one of the best I've ever seen. I've met Rafa Fajardo in a brazilian restaurant and sat directly next him.... an amazing flamenco guitarist from Spain living here in Amsterdam....since then I am listening to Paco de Lucia again... I still have a tape with music of Toti Soler....thanks for all the inspiration and saludos de Amsterdam Holanda...
Thank you so much for your lesson. Very clear. Probably one of the best on the net....and I still love your "FlamencoLoco" guitar support. It really is excellent. Muchas gracias :-)
great lesson thankyou!!.. coming from classical guitar to Flamenco.. its so new feeling and alot of different R hand techniques to learn.. very fluid..
the side view was helpful in understanding! Ive seen rolling rasgueo with the thumb planted on the first string but it didnt look like the fingernails went behind the thumb. it puzzled me how they were getting enough speed and accent
Diego! Super lesson . U are good teacher u speaking not hurry and good pronunciation .For me (I am Old) it's the best. The fingers what u show are slow and it's good u have my subscribe.
I had to for e myself to learn this because i still play the 4 finger rasgueado. Where the pointer comes out then back in and the pinky, ring and middle follow then back in. Almost like a backward pattern.When i played for antonio rey he said that’s completely fine to play that pattern also.
Hi very nice and helpfull video. I have just one question: can I play rasgueado in the order of the fingers i, m, a ? I can play it confortable in both but in this way I go a bit faster. I would like to know in which way would be the best to practice or maybe practicing both. Thank you Maestro.
Hi Giacomo. I can only answer your question from experience and I have no experience playing i,m,a rasgueado. My concern would be how effectively and effortlessly you can move into accompanying techniques such as golpe which can serve to accent the last strike of the rasgueo. Also, I very highly recommend to study and follow the way of the Masters. Watch their hands and try intently to imitate them exactly. They use the right hand a specific way because it gives them the best result. Even when a certain finger combination may feel awkward at first it is worth the extra effort to master it, especially if it is the way of the Masters. In your example, the a,m,i is the most common way among the experts. All the best!
Hi petey604, great point. You can use either m or i for the "hits". Both work so it's up to the individual. For me m has a bit more weight and snap and is more relaxed to use as the "hit" follows an i downstroke. Cheers!
Hi Susanne. I'm sure there is a very long historical answer to that question, but the short version is that with Bulerías the phrase usually starts on 12 and ends on 10 of the accent pattern. Good luck!
question ,, is it not better , and sound smother if you do not 'flick' out the fingers behind the thumb? so the fingers curl up but do not touch the thumb . i see many players do this . Also i see a lot of these type of rajeo start with an up stroke like ,i,.first then a,m,i,, this would also change the finger that hit the strong accent, just a thought
Hi, great question. First to clarify, the video is to teach this particular type of rasqueo and offer a means with which to practice it. You are absolutely right about the iami rasqueo. Many players will use an amii ending with the i upstroke. There are other similar variations but they are by definition 4 finger rasqueos. As to the 'flick', there is no right or wrong. Both ways work great and come down to taste, effect and preference. The 'flick' has a more modern sound and I like it here because of it's added clarity and aggressiveness for the style. All the best! - Diego
Diego de Oro yes i understand the point of our video and to whom it is aimed .. i was just asking a sort of extended question as rasgueardo is one of these many maneuvers that i find a bit awkward at times . I used to think of them as a 'horse gallop 'rhythm. and at first i would flick of the thumb or inside of the hand , but am now trying to change and not do that ,so much for a more even sound. I also find it different depending on if it is a fast or slower palo that you are playing, sometimes bulerias can get a bit fast (for me) and i dont have time to get a good flick , unlike in Sevillanas, Fandangos and Tangos that seem to have a similar pattern. Thanks for putting the video , flamenco is so difficult to play and getting it all sounding 'Spanish' and all these little details seem to add up quite a bit .
Diego de Oro is it possible to do rolling rasgueo with flicking from behind the thumb? since I have trouble getting sufficient accenting/aggressiveness without flicking
This is AMAZING... but I suck at counting!!! People tell me to practice more. But I've been practicing since 1973 (that's when I got my 1st nylon-stringed guitar). I was 8 years old then. You'd think I'd be better than I am after 45 years of practicing. I should be better. Maybe there's no hope for me? But I love the guitar so much. And Flamenco the most. And I'm not even Spanish. I'm Italian.
Hey Blind Jack, no worries. More important than counting is FEELING the beat structure. Listen to a TON of bulerías; tap the rhythm on every table, pant leg, and steering wheel (drive safe!) you have in front of you. (maybe not EVERY pant leg...it's very situational 😉) and just remember that you can do ABSOLUTELY ANYTHING once you make up your mind to do it! No excuses, you can do it brother!
Oh, Diego de Oro, thank you SO much for your heartfelt advice!!! You have enriched my confidence and given me added hope!!! And yes, I know that by diligently studying your films, I certainly CAN learn this Flamenco. I'm sure I'll have un-learn a ton of bad habits first, though. Here's a little video that I just made this past weekend... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-shZvsIBzJ2k.html Lots of room for improvement, I know. Thank you for your concern that I drive safely. My day job is I'm a school bus driver. Ok, thank you once again!!!
Classical guy here looking to expand. Your channel is very helpful. Do you recommend listening to traditional flamenco with dancers over the solo guys like Sabicas and De Lucia?
Thanks for your kind words Daniel. I recommend listening to as much of the "cante" (singing) and accompaniment as you can. A great place to start is with Camaron de la Isla, (Paco de Lucia and Tomatito were his accompanists). Once you get a taste for the cante, then add in Terremoto, Jose Merce, Enrique Morente, Estrella Morente, Diego Carrasco, Carmen Linares, Chocolate. That's a good start. For solo guitar check out Paco de Lucia, Sabicas (as above), Tomatito, Vicente Amigo, Manolo Sanlucar, Nino Josele, Moraito, Diego del Morao, Pepe and Juan Habichuela, any work with the last name Carmona associated. That's a good start... Animo, a tocar!!! 👏👍
Hi, this is from a CD series called "Solo Compas." produced by Manuel Salado and Original Future Sounds. It can be found here: www.discogs.com/Manuel-Salado-Solo-Compas-Bulerias/release/9343312Cheers, all the best!
good explanation, but more practice is needed. when you do them slowly they are evenly spaced, but when you go faster you kinda mush them together and they loose that distinct flamenco vibe.
I have to say your pulgar "thumb" behind the string is against everying I was ever taught. It is to rest "anchor' on the bass string as when you perform. I see a lot of people teaching that way now. Spanish (gitano) teachers will lose it if you that..
I believe that there are many ways that the hands need to be used for the effect you are looking for. One potential problem with "locking" the pulgar behind the 6th string is extra tension that it can introduce. To bypass this, it must be practiced in a relaxed but aggressive manner. It sounds contradictory it must become totally relaxed. I copied this technique from watching (early) Tomatito. Right or wrong, when I want heavy aggressive bass strings, it's my "go to." Thank you for your thoughts on this.
Thanks for your reply, other than the anchor I realized while practicing I actually do what your showing. The I and M finger pulse help me remender the correct way.
Paco de lucia..esto no es blue...el flamenco es un arte de las. Vivencias de la sociedad andaluza, para los guiris es muy dificil tocar a un cantaor,venir para andalucia y aprendereis a tocar una taranta en un par de decadas ..suerta i aprende castellano y entenderas los matices del flamenco
