Rasgueo (Rasgueado) PracticeImprove Your Rasgueo Technique Without a Guitar

You will be happy to know that you can build your strength, agility, and ease of movement on the four-stroke rasgueo even during those times that you have no access to a guitar. Therefore, you can practice this stroke during any down time you have – on a break at work, at lunch, at home, on the train or the bus.  Practicing during those times can greatly speed up the time that you spend learning the technique. Flex your fingers so that your nails press directly into the palm of your right hand. Next, flick each out separately in the order ‘e,’ ‘a,’‘ m,’ then ‘i’ against the resistance provided by the ball and base of your thumb. For even more practice, balance your thumb on the top or the edge of a flat surface, on the side of your thigh, or on your seat on the bus. Use whatever surface that is convenient to use as the resistance against which you flick your fingers. Learn to control each finger at a time, making the strokes of each finger equally powerful. After much practice, you should be able to repeat the sequence ‘e,’ ‘a,’ ‘m,’ ‘i’; ‘e,’ ‘a,’ ‘m,’ ‘i,’ in a smooth, unbroken rhythm with no pause between the ‘i’ of one rasgueo and the ‘e’ of the next. Once you have conquered this exercise without a guitar, you will have a firm foundation to perform longer rolls on your instrument.

 

Rasgueos, the Flamenco Strumming Technique – Part 1The word ‘rasgueo’ comes from the Spanish verb ‘rasguear,’ meaning ‘to strum.’ Rasgueo includes all of the techniques which use one or more right-hand fingers to strum the guitar. The most commonly performed types of rasgueo are the following techniques: 1) a single stroke with the index finger, and 2) the four-stroke rasgueo, a longer rolling technique. In some circles, rasgueo is called ‘rasgueado.’ Either term is correct.

First, the Index Finger Rasgueo

Begin with downstrokes: Place your right hand in position, resting your thumb gently beside the soundhole of the guitar on the rosette. This will stabilize your hand. Remember to keep your hand relaxed to avoid tension in the muscles of your hand. Flex your index finger from its knuckle, so that the nail comes close to the base of your thumb. Beginning in this position, flick your finger forward, striking downward across all six of the strings. As you flick, pretend that you are flicking a speck from the sixth string across all of the strings, to a spot just beyond the first string. Begin gently. Move in a straight line across the strings, perpendicular to the strings.

Next, add upstrokes: After you achieve a steady rhythm with your index finger downstrokes, start playing upstrokes after each downstroke. Upstrokes are played as follows: flick your index finger back toward the position at which it began the downstroke, hitting only the higher-pitched strings (1, 2, 3 and 4). Try to achieve a bouncy feel as you move, making the notes sound crisp, with a springy bounce to the rhythm as you play down- and upstrokes.

Rasgueos, the Flamenco Strumming Technique – Part 2The four-stroke rasgueo is one of the most powerful elements in Flamenco music. It is a quick series of downstrokes by the four fingers of your right hand  in this order: ‘e,’ ‘a,’ ‘m,’ then ‘i.’ Use the same hand position as in the index finger rasgueo, with one exception: this time, rest your thumb on the sixth string without touching the front surface of your guitar. Do not rest it on the

rosette, as you did in the index finger rasgueo. This position will help you stabilize your hand. Sound only the top five strings. First, flex your fingers so that they nearly, but not quite, touch your palm. Next, uncurl each finger in turn so that it hits the strings, brushing downward across the strings with the flicking motion that you used for the index downstroke. Start slowly and gently, using an even succession of strokes by the four fingers. Listen for the distinctive sound of each stroke; each should sound independently. Each finger should move separately, as an autonomous unit, with its force equivalent to the others.   Moving each finger with equal force will be hard at first, especially with ‘e’ and ‘a.’ Do not push downwards with your whole hand, dragging your fingers across the strings. Keep your hand and wrist still, yet relaxed

Flamenco Guitar Sitting PositionTo play Flamenco-style, support your guitar’s weight on your right thigh. Choose an armless chair that will allow your legs to hold a correct position comfortably. Your thighs should align with the floor at a parallel angle, but slightly inclined, your knees higher than your hip joint. This position will help you balance your guitar in a secure position. A word of warning: do not allow your thighs to slope downward from your hips to your knees, causing your guitar to slide forward. Your feet may be together or slightly apart, whatever proves more efficient for you. More important, make sure that your feet are in a position which will maximize the height of your knees from the floor. Keep your knees relaxed, at an outward angle. Your back should be straight and upright, but relaxed, in order to lessen strain. In a similar vein, square your shoulders, keeping them level.

Balance Your Guitar

Place the larger curve of your guitar on your right thigh. In most people, the outer part of the thigh is the optimal spot. Gravity, acting on your relaxed arm, pulls it downward, balancing your guitar at the proper angle. Relax your neck and shoulders. Place your right hand in the playing position by raising your forearm, bending your arm at your elbow until your hand lies across the guitar strings between the soundhole and the bridge. Relax your hand. This one thing alone will help you avoid tense muscles, which lead to fatigue. Tense, tired muscles will make practice time a chore. Relaxation, on the other hand, is the key to enjoying practice, as well as performance.

Place the back of your guitar perpendicular to the floor, but slant the neck of the guitar slightly forward, away from your left side. This will make it easier for your left hand to access the neck of the guitar, while at the same time limiting the degree that the back of the guitar presses against your chest. The backside of your guitar projects sound forward, so you will want to avoid dampening the sound with your chest.

Remember these key points:

– Do not support the weight of your guitar by your left hand. In order to move freely, your left hand must be unhindered in its movement.– Make sure there is a gap between your guitar and your chest in order to produce a clear sound.– Keep your upper body relaxed, free of tension.

Though it might seem awkward at first, try to maintain the proper position, keeping in mind the above guidelines. The first few times, you might believe it to be a hopeless task to both balance and secure the guitar at the same time. You will, however, be able to master the technique if you persist. Do not despair, though, if the technique proves difficult at first. For a brief time, you may need to lower the guitar so that the indented section between the two curves of the guitar’s body rests on your right thigh. Keep trying, however, to play in the Flamenco position. Over time, you will gain greater comfort and confidence as you play in that position for longer periods of time. Making sure that you assume this position will help to keep your spine straight. This, in turn, will give your right hand more strength and control, while giving your left hand easy access to play frets high on the neck of your guitar.

A word of caution here: While watching Flamenco guitarists perform, you may see some virtuoso guitarists varying their position, even altering their positions as they play. Realize, however, that these are but variations on the basic Flamenco position, a position which you must master before trying any alterations.

Flamenco Sitting PostureKeep an Eye on Your Fingers

Look over the top of your guitar at your left-hand fingers.  This will assist you in placing them behind the proper frets. Do not be tempted to pull your left hand closer to your body to get a better view, since it will cause the back of your guitar to touch your chest, dampening the sound. Keep the flat portion of your guitar’s front surface as nearly upright as possible.

Flamenco NotationIf you do not understand musical notation, or if you cannot read music, you are in good company. Traditional Flamenco guitarists do not usually read music, but rather learn by ear, watching closely and imitating the more experienced players. It is good, however, to make yourself familiar with the basics of music notation. If you do want to learn notation, a comprehensive study is available in LAGA Classical, the online guitar lesson platform by the LAGA Faculty.

Right-hand Position in Flamenco Guitar PlayingThe foundation for all right-hand movements is the ‘basic playing position.’ Place your hand so that the line that your knuckles makes lies nearly parallel to the strings of your guitar, placing your thumb to the left of your fingers.

To play a section using just your thumb, move your forearm slightly forward, your thumb descending on the strings at a steeper angle than in the basic playing position. Keep the arch of your wrist higher, the palm of your hand facing your right shoulder, the line of your knuckles at an angle across the strings. Flex your index and middle fingers slightly, your fingertips lightly touching the golpeador, right under the first string and close to the bridge. Extend your ring and little finger forward to stabilize your hand. Only your thumb will be able to move. Relax your wrist. Now, lift your thumb, then swing it downward, making sure that the entire movement flows only from its joint at your wrist. This is called a thumb stroke. The power generated by the stroke assists your thumb, which falls naturally onto the string. With practice, your thumb stroke will develop great power.

To play ‘apoyando,’ move the tip of your thumb in a line downward and inward – toward the front of your guitar. After hitting the string, continue to move your thumb until its movement is stopped by silent contact with the next higher string. Your thumb should travel toward the middle of your third finger.

The Golpe‘Golpe’ is the Spanish word for ‘tap.’  This tapping sound gives unique flavor to Flamenco music, and is aided by the golpeadores, or tapping-plates.  To perform golpe, make a quick flexion movement of your third finger (or occasionally, your fourth finger) of your right hand, bringing your fingernail and the flesh of your finger into contact with the golpeador.

You need to keep the movement of your finger confined to the knuckle, keeping the rest of your finger, your hand, and your wrist relaxed.  Make sure that your nail and flesh hit the golpeador at the same time, for that is what produces the characteristic sound.  After you hit the golpeador, keep your finger in contact with it, lifting it only at the beginning of the next stroke.  Never allow your movement to become forceful.

When you reach more advanced levels, you will learn to play the golpe simultaneously with your thumb or index fingers sounding the strings.

Apoyando and Tirando: Two Main StrokesThe two principal ways of playing single strings with the right-hand fingers or thumb are called apoyando (the rest stroke) and tirando (the free stroke). To perform  apoyando, rest your striking finger against the next (upper) string as you complete the stroke. For tirando, keep the line  at which you strike the strings parallel to the soundboard of the guitar, rather than down toward the soundboard as in apoyando. The striking finger or thumb does not touch an adjacent string.

Move your whole finger from its joint at your knuckle. Move the tip of your finger in a line pointing toward the ball of your thumb.  Do not hook your finger into the palm of your hand. Bend the middle joint of your finger in a close approximation of a right angle as you begin your stroke. Your middle finger will bend slightly more at this joint as you strike.  Swing your whole finger from the knuckle joint to give your stroke more power. If you practice slowly, you will start to feel the correct position as you move your fingers, continuing their movement after striking the string, until your fingertip rests against the ball of your thumb.  Normally, your finger will not move this far.  This exercise exaggerates the motion from the knuckle joints, in order to increase your fingers’ strength, especially in the weakest finger, the third.   At the moment when you strike the strings, the tip joint of your striking finger will actually bend slightly backwards if your finger is completely relaxed.  This is important, since you are trying to get your finger to move from the knuckle. The degree of tension in each stroke varies according to the style of the music, and that of the guitarist.

When you play arpeggios, move each finger independently of the others. When you play chords, move your striking fingers together from your knuckle with the same movement that you used for your single finger. Move only your fingers, keeping the rest of your hand, and your wrist, relaxed, unmoving.

To achieve the optimum position, keep your thumb aligned with the strings. The impact should be more on the side of the tip of your thumb, both on the nail and on the flesh. When you play tirando with your thumb, you should move similarly, except that when you follow through, clear the next highest string, rather than resting against it as you would in apoyando. Move the tip in a circular or oval path at right angles to the plane of the strings, with your thumb moving entirely from its joint at the wrist without bending at either of the other two joints, keeping your knuckles parallel to the strings.

Flamenco music rarely employs thumb tirando. When you do move your thumb, however, keep it independent from your fingers’ movements. Cultivating this independence is crucial to achieve good right-hand technique. The weight alone of your relaxed hand will be enough to maintain control.

Beginners often have a tendency to straighten their wrist.  This error brings their hand too close, causing their knuckles to be at an angle from the strings. Take heed, therefore, to make sure that your hand angles downward and away from your body.  Keep the arch of your wrist relatively flat, meaning that the flat part of the back of your hand lies nearly parallel to the front surface of your guitar. If the arch is too high, it  limits the power that your fingers can exert.  Bring the right-hand side of your palm down, close to the front of your guitar, no further from it than from the left side (as seen when your hand is in the proper position for playing). This is a defining feature of the Flamenco right-hand position, since it strengthens  third finger, giving it more power as it strikes the

strings. Use the positioning of the knuckles in relation to the strings as a useful reference point in studying the details of right-hand technique. As you advance in your studies, you will be able to explore how you can alter these details  to fit the anatomy of your own hand.

The Tremolo TechniqueOccasionally a solo guitarist might want to play two parts simultaneously. At first glance, this might seem impossible. It can, however, be accomplished through the technique of tremolo. This powerful musical tool simulates both a treble voice, which plays a flowing melody line, and a bass voice, which plays a rhythmic counter-melody. What seems like a flowing melody line is illusory, a line produced by rapidly repeating notes, which sound similar to a mandolin.

An advantage of learning tremolo early on is that the technique itself is a good exercise which will help you learn good right-hand technique. Tremolo demands that both your thumb and fingers move independently, your fingers each controlled separately. Lots of practice is necessary before you can play at the speed at which it gives the illusion of two instruments. You will, however, develop independent muscle control in your thumb and your fingers. If you practice faithfully, ever so slowly, with regular rhythm, you will soon be on the road to having a good tremolo technique.

The Flamenco Tremolo

Tremolo, as played in Flamenco music, has five notes per beat. It begins with a thumb stroke on a bass note, followed by four tirando finger strokes in the treble. The notation for the tremolo is ‘p’-‘i’-‘a’-‘m’-‘i.’ Observe that the Flamenco tremolo has one more stroke than the one for the classical guitar, written ‘p’-‘a’-‘m’-‘i.’

You must categorically keep a steady rhythm in order to create the illusion of a flowing melody in the treble voice. Strike each finger distinctly, with equal force and tone, with strict regularity spacing the strokes with your thumb and with each finger.

Often you will hear musicians call tremolo ‘an arpeggio on a single string.’ If you view it this way, it will help you focus on the evenness in which you must time and space the notes. Make yourself begin slowly. Make sure that the intervals between ‘p,’ ‘i.’ ‘a.’ ‘m,’ and ‘i’ are all equal. This way of viewing it will help you to concentrate on keeping your notes spaced evenly.  Relax your hand, moving your fingers mainly from your knuckles. Do not be tempted to rush in your desire to master the illusion. Keep in mind that doing it slowly will also have the added benefit of improving your muscle control. If you rush, you will develop bad habits, which cause the rhythm to be uneven, not flowing smoothly. Relax. Your speed will come naturally with careful attention to detail in practice.

The Thumb in TremoloThe thumb plays apoyando or tirando, depending on the effect that you want to achieve. When the bass notes are sounded in an ascending sequence of strings, such as the sixth, followed by the fifth, then the fourth; your thumb, if playing apoyando, follows through, striking each one without being lifted and swung back after each string has been played.

Alzapua in Flamenco Guitar MusicA technique that epitomizes the Flamenco sound, alzapua employs thumb upstrokes to give passages of melody a rhythmic, pulsing syncopation with its rapid, repeating pattern of three different thumbstrokes. Taking its name from the Spanish verb ‘alzar,’ meaning ‘to lift’ or ‘to raise,’ alzapua is employed in many different toques.

Known today as a technique which shows off a virtuoso’s skills, alzapua has its roots in the ancient past.  Similar techniques have been used for centuries in music composed for the Islamic ‘ud, an ancient instrument which is part of the modern guitar’s pedigree. Using thumb upstrokes has a long

history of use in Flamenco music.  Guitarists employed the technique to play both rasgueo as well as single note runs, in the latter using their thumbnail as a plectrum.

Start learning this powerful technique to give your music a lively rhythm. Play the strokes in this order:

1. Using your thumb, play a downstroke chord across all of the strings, using a well-defined note in the melody as your starting point, which will be the lowest and most important note in the chord.  How far the chord extends onto the higher strings is optional.  Usually, guitarists play a golpe at the same time that they play the thumbstroke.  For example:

2. Next, play a powerful upstroke on the same chord, using the edge of your fingernail to hit across all of the strings in the chord.  This is the key ingredient that will give your rhythm its distinguishing syncopation, as well as a sense of urgency.  Again, the extent of the stroke is not as crucial as the manner in which you hit the strings, since the upstroke is not part of the melody.

3. Finally, play one melody note on a bass string, using a firm apoyando. Use the same string as you want to use on the next downstroke, or, alternately, on the next lower string.  If you use the next lower string, swing your thumb on to sound the next note, with a smooth follow-through after striking the melody note. Keep your right hand in the ‘thumb’ position, shown earlier in Lesson Two.  Swing your thumb from the joint where it joins your wrist.  Base your left-hand finger movements on the chord positions used in the piece,  Hold the chord positions with some of your fingers, using the others to stop the melody notes.

Changing ChordsThe old adage ‘practice makes perfect’ is especially true when it comes to changing chords on the guitar. Practice chord changes over and over again, moving your left hand from one chord shape to another. Keep the rhythm slow at first, just enough to not cause a disruption in the flow of movement when you change chords.  Curve your fingers over the frets, lifting them at the shortest distance possible from the fingerboard in order to economize on your motion. Often, one or more fingers can maintain contact with the string during the move if you need to use them to stop the same string in the next chord. Adopt this energy-saving technique at the very beginning. Practice each move in advance, so that your fingers will move the shortest distance possible between each position, keeping your thumb in contact with the neck of the guitar. Soon you will develop good habits, as well as a neat, workmanlike appearance of your left hand.

Do not become frustrated, for beginners initially find it difficult to move all of their fingers at the same time into their new positions. To solve this problem, place your fingers on the frets in rapid succession, stopping the strings in the order in which they need to be sounded. Soon, though, all of your fingers will find their places automatically.  If you make efficiency of motion important from the very beginning, keeping your mind on what you are trying to accomplish as well as faithful practice, soon your movements will come effortlessly to you, almost as if your fingers know themselves where to go, without your needing to watch.

The Picado Technique for the Flamenco GuitarThe Spanish word ‘picado,’ meaning ‘picked,’ is another special technique that gives Flamenco music its unique flavor. To play picado, the guitarist plays passages of single notes with apoyando strokes, alternating his right-hand fingers. Most commonly, guitarists alternate their strokes between their index and middle fingers. With years of practice, an experienced guitarist can use this technique to attain dazzling speed and attack while playing single-note runs. Picado is also used to play more leisurely melodic passages. In Flamenco, guitarists play single melody notes apoyando,

as opposed to tirando. At times, guitarists will accompany passages of picado on the higher strings using bass notes played using the thumb tirando.

The Right-hand Position for Picado

To play picado, you will be using a variant of the ‘basic’ position that you used for tirando, with one exception. In picado, you may place your knuckles slightly more over the bass strings. This time, keep your knuckles parallel to the strings, planting the back of your hand parallel to the flat surface of the front of your guitar. Relax your wrist, allowing no movement from the joint.

Rest your thumb gently on the sixth string, stabilizing your hand while you play notes on the three highest-pitched strings. In a descending run, your thumb travels over to the golpeador on the closest side of the strings when you play notes on the fourth and lower bass strings. Return your thumb to the sixth string when an ascending run moves from the fourth to the third and higher treble strings.

Begin by playing the exercise slowly and evenly. In slow passages of picado, keep your fingers relaxed. The stroke’s power comes completely from your knuckles. Make sure that the other joints of your finger remain flexed. Alternate your movement as if you were ‘walking’ your fingers, each taking a swing of equal length, striking with identical force. Begin each stroke with each finger a tiny distance (perhaps one-half inch or less) from the string. Swing your finger in a direction across the strings and toward the soundboard (toward your chest). Hit the string with the tip of your fingernail, firmly and cleanly, following through until you bring its tip to rest against lower-pitched string next to the string that you just played. As the nail hits the string, the impact will force your tip-joint backward. When you play faster, or with greater emphasis, you will need to straighten your fingers more, making them stiffer, keeping the movement coming from your knuckle. Because your fingers become stiffer as you play faster, your tip-joint will not bend backward when it strikes the string.

Normally, your ring finger will move in concert with your middle finger (due to the peculiar anatomy of the extensor tendons in your fingers). Practice this, the most difficult of all alternations, in order to strengthen your weaker third finger: ‘m’-‘a,’ ‘m’-‘a,’ followed by ‘a’-‘m’, ‘a’-‘m.’ Make sure that your ring finger’s movement is the same as for the other fingers – from the knuckle. Your hand should be able to change patterns without moving as a unit.

Moving from the treble strings to the bass strings, or, conversely, from the bass to the treble strings, bring your whole hand across the strings in a straight line parallel to the bridge. This will maintain your hand’s and wrist’s constant posture relative to the strings. To keep the point of impact a constant distance from the bridge, bend your elbow while you move from treble to bass, and at the same time draw it outward and backward by moving your upper arm at the shoulder.

The Basic Rules of Picado

1. Always play your fingers alternately, regardless of changes in strings. Never play two consecutive notes with the same finger.2. Move your fingers from their knuckle joints. Alternate your fingers with strength and consistency, with a swinging action, having no unnecessary movement.3. Keep the posture of your right hand and wrist constant, relative to the string your fingers are currently playing. To maintain a consistent posture while changing from higher to lower strings (or lower to higher), move your hand in a straight line which is parallel to the bridge of your guitar.

Apagado: A Pizzicato Technique for the Flamenco Guitar

The Spanish word ‘apagado’ means ‘quenched’ or ‘silenced.’ That is exactly what happens in this Flamenco technique, which parallels the more familiar pizzicato technique in ‘classical’ music. Apagado can be performed by both the right and left hands.

Right-hand Apagado: Bring your right hand down sharply onto the strings after striking them. This should be done in such a manner that the base of your little finger and the edge of your palm stop the vibration of the strings immediately. To make the stop happen, simply push your wrist sharply toward the front plane of your guitar.

Left-hand Apagado: You can also stop the strings instantly by damping them with the little finger on your left hand. Bring your little finger straight down across the strings at a right angle to them immediately after your right hand sounds a chord. Your little finger needs only a moment’s rest across the strings in order to silence the guitar’s sound. Do not press the strings against the fingerboard; rather allow your fingers to descend quickly and gently upon them.

Right-hand apagado is more powerful, while the left-hand apagado offers more agility, allowing you to repeat it quickly, forming successive staccato (abrupt) chords.

Left-hand Position in Flamenco Guitar PlayingEstablish a good foundation for your left-hand technique by remembering these basic points:

– Keep your fingertips perpendicular to the guitar strings: Put your fingers on the strings, near the frets, but not near enough to muffle the sound. There should be no buzzing sound coming from the frets. Place your fingers down on the string, at right angles to the flat surface of the fingerboard. Let your thumb balance the pressure from your fingertips.

– Keep your thumb straight, still, opposite your fingers, touching the neck as close as you can to an imaginary line down the middle of the guitar’s neck. As you move from the sixth to the first string, move your thumb around the neck from the middle toward the side of the fingerboard farthest from you. Do not bend your thumb, nor stick it out to the left. Remember, do not support your guitar with your left hand.

-As you change strings, flex your fingers. Because your thumb will move just enough to keep the tips of the fingers perpendicular to the fretboard, bend your fingers more in their middle joints as you move from the sixth to the first string.

-Make sure that your knuckles remain parallel to the guitar strings, their line parallel to the edge of the fingerboard. Imagine that you are trying to keep the palm of your hand at the base of your little finger nearer to the edge of the fingerboard than that part of your palm which lies at the base of your first finger. Visualizing this ideal will help you to overcome a pesky habit: allowing your fingers come down at an angle to the strings rather than squarely across from them. Consequently, your third and fourth fingers will have to travel further to stop the strings, and you will not be able to develop the strength, speed or accuracy to use them effectively. Learning this correctly at the outset will prevent this common error.

– Relax your wrist. Whatever fret positions you play on your guitar, you need to keep your hand’s posture in relation to the fingerboard the same. Look at the illustrations in the book. These photos will demonstrate left-hand chord positions, called ‘shapes.’ They also illustrate the ideal posture for your hand and fingers.

– Allow only one finger per fret: If you make sure that your knuckles remain parallel to the edge of the fingerboard, each finger will occupy a different fret space. In this exercise, bring down each finger in turn without moving the rest of your hand.

– Keep unnecessary movements of your fingers to a minimum. Excess movements will hinder your ease of movement and speed, waste energy, and look sloppy. Keep your fingertips close to the fingerboard, so that they do not need to move far in order to stop the strings.

-Check your indentations. Each fingertip should land consistently on the strings at the same point. That point will soon develop a callus, with an indentation at the point at which it touches the string. Compare these indentations with the angles made by the strings with the fingers. The indentation on your middle finger should be approximately parallel to the fingerboard.