Rasgueado Technique

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Here is another sample from Flamenco Guitar Secrets…Still on the technique section,
lets cover another essential technique called Rasgueado.

Now, the next thing I’m going to talk about are rasgueados
and that’s the fan motion of the right hand and there are
several forms of them.

One form would be this, where we use A finger, M finger,
I finger and then you come back with the I finger. And that
is done by putting your thumb always on the sixth string.

A lot of my exercises are done on this particular chord,
called B-diminished, or E-7 flat in line. That is this.
How you figure that out is E-7, and this is a full E-7,
and flat in line would be this note, is flat in line.

The reason I use this chord is because this chord moves
down pretty easily and sounds pretty good. So I can do this.

A lot of these exercises, when you do them, you should
tap your foot with them. That way it makes your rhythm stronger.
And that’s what you need to flamenco. You need to have a
very strong rhythm, especially if you’re planning to work with a dancer.

Here we go. One, two, three and four, five, six and seven,
eight and nine and ten, eleven and twelve.

Second variation. Four, five, six and seven, eight and
nine and ten, eleven and twelve.

Okay. So that is a three finger rasgueado.

What is happening here is a lot of wrist motion. Okay?

I’m going up with my thumb, like that, and opening my hand
using these two fingers, the middle and the A.

Do this.

So, again, one, two; and you’re going to notice, the thumb
needs to be on top of the string now to do the third motion,
and that is a wrist motion on three.

Okay. Another triplet would be a two-finger rasgueado.
That would be up, your thumb needs to be here, up with
the index, down with the A, down with the I.

Again, one, two, three. Notice, we don’t use this finger.
As a matter of fact, I would leave it out. If you tuck it
in all the way, it’s going to get in your way.

One, two, three. See, it’s out. It wants to go back in,
but I’m not taking it all the way in. Up, down, down; up,
down, down; up, down, down.

And that’s a light triplet as opposed to a heavy one,
like this one. That is if you’re playing solo and then
you’re playing like a chorus.

This is good for like stuff like sevillana or tangos, you know?

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