RASGUEADOS, Part 3

Copyright Douglas Niedt. All Rights Reserved. This article may be reprinted, but please be considerate and give credit to Douglas Niedt.

The rasgueado redondo, or continuous roll, links repetitions of a rasgueado pattern into an unbroken stream of sound. Part 3 of this three-part guide covers the blended continuous rasgueado classical guitarists use ("cami" or "ami"), the flamenco separated 5-hit and 4-hit versions, a rotating-accent refinement exercise, a catalog of additional flamenco patterns, and pieces by Turina, Albéniz, and Falla that call for them.

The Rasgueado Redondo or Continuous Roll

For Classical Guitarists using the blended rasgueado technique:

For classical guitarists, the continuous rasgueado is usually done with the blended rasgueado technique using “cami” or “ami”. This first version consists of an equal number of down strokes and up strokes.

The blended technique is much easier to do than the separated technique used by flamenco guitarists described below. The blended continuous rasgueado can be done with or without wrist/arm rotation. Some teachers describe it as having a “circular” attack. The thumb can hover above the bass strings or rest on the guitar.

I like to use this technique in Joaquín Turina’s Ráfaga.

To understand the details of the execution of the blended continuous roll and how to practice the pattern, watch Video #1.

Be sure to watch the video on full screen. Click the symbol to the right of "HD" in the lower right-hand corner after the video begins playing. Hit escape "ESC" on your keyboard to return to normal viewing.

A blended continuous rasgueado can also be produced by using an up stroke with the thumb followed by all down strokes with the fingers.

Watch me demonstrate how to play these rasgueados in Video #2.

Be sure to watch the video on full screen. Click the symbol to the right of "HD" in the lower right-hand corner after the video begins playing. Hit escape "ESC" on your keyboard to return to normal viewing.

The flamenco style using the separated rasgueado technique:

If we combine two or more repetitions of the 5- hit or 4-hit separated rasgueado, we have a Rasgueado Redondo or continuous roll. One of the difficulties of this technique is not to have a gap between the repetitions. The key is that on the “i” downstroke the other fingers should begin a pronounced re-curling movement into the hand. Then, as “i” completes its upstroke, all four fingers (if you are doing the 4-hit version, only “ami”) should be locked behind the thumb (or tucked into the palm) ready to begin another repetition of the pattern.

Let me show you how to learn the flamenco-style separated continuous rasgueado patterns in Video #3.

Be sure to watch the video on full screen. Click the symbol to the right of "HD" in the lower right-hand corner after the video begins playing. Hit escape "ESC" on your keyboard to return to normal viewing.

Refinement exercise for the 5-hit continuous rasgueado

To improve the evenness of the volume of the attacks and develop finger independence, practice the pattern with rotating accents. Accent in groups of 4. This can be practiced with or without a metronome. This makes each finger a “leader” of accenting beat one of each group of four.

Watch me demonstrate this exercise in Video #4.

Be sure to watch the video on full screen. Click the symbol to the right of "HD" in the lower right-hand corner after the video begins playing. Hit escape "ESC" on your keyboard to return to normal viewing.

More Rasgueados

Below are many patterns used by flamenco players. But there are even more! Few of these would ever be used in the classical repertoire, but they are still interesting and fun to learn.

Final Thoughts

One of the main purposes of learning and practicing the separated (flicked) rasgueado techniques is to improve your ability to play a good blended rasgueado. Remember, it is the blended rasgueado that you will use almost 100% of the time in classical guitar repertoire. Learning the separated flicked technique will improve your finger independence to play a good blended rasgueado.

To learn any rasgueado pattern, it is important to practice it slowly, developing the individual finger movements and finger independence. Program every single motion into the hand. Take your time. Don’t over practice. At first, it is best to practice rasgueados 5-10 minutes every day. If you practice 30 minutes, there is a good chance you will hurt yourself and then you will have to stop practicing for several days for the hand to recover. Practicing consistently a little bit every day will help you learn a rasgueado more quickly.

Here are a few pieces in which rasgueado techniques may be incorporated:

Fandanguillo, Ráfaga, and Soleares (Joaquín Turina)
Leyenda and Sevilla (Isaac Albéniz)
The Millers Dance (Manuel de Falla)
Popular and classical versions of Malagueña