Learn Malaguena Guitar Lesson

Chapter 1: (00:50) Intro In this introductory scene, Pamela performs her rendition of the classic "Malaguena." In the following scene, she breaks down all of the important techniques included in this piece.
Chapter 2: (12:37) Patterns and Improvising A Few Notes on the Score

Malaguena is an old traditional song that has been interpreted and performed in a variety of different ways. Part of Pamela's performance may have sounded different from other versions of "Malaguena" that you have heard. Measures 10-25 break away from the basic pattern of the piece. Pamela has interjected her own creativity into the piece through the course of these measures.

Similar to the piece taught in the previous lesson, "Malaguena" consists of a bass line played by the thumb and an accompaniment played by one of the other fingers on the weak beats. Similar to the past two lessons, either I, M, or A may be used to play the accompaniment part. Regardless of which finger you use, remain consistent, and use the same finger throughout. Using the same finger will produce the most consistent tone possible.

Tempo

This piece lends itself to a variety of different tempos. Play the piece in a variety of tempo ranges to see what sounds best to you. You may even want to vary the tempo from performance to performance depending on the type of mood that you are in. If you decide to play "Malaguena" at a fast tempo, play the accompaniment with either I or M, since these fingers are stronger and faster. Regardless of which tempo you decide upon, begin your practice at a very slow tempo.

Metronome Tips

Always count several measures along with the metronome before you begin any piece of music. Make sure that you are completely prepared and focused before you begin to play. Since Malaguena primarily features an eighth note rhythm, count "1+2+3+" to get a feel for the eighth note rhythm. If a piece is mainly played in sixteenth notes, count "1 e +a etc." along with the metronome before you begin to play.

If you are practicing the piece very slowly, you may find it helpful to set the metronome so that it clicks on every eighth note instead of every quarter note. It is very difficult to play perfectly in time at 30 bpm if the quarter note is counted as the pulse. As you continue to practice the piece and advance into quicker tempos, set the metronome so that it clicks on each quarter note.

Pamela demonstrates a portion of the piece at 03:52. Her metronome is set to click on each quarter note at 50 beats per minute.

Practice Tip

Before you attempt to play the bass line and accompaniment simultaneously, isolate the bass line and play it by itself. The bass melody must sound as smooth and connected as possible! You should hear no space between one note and the next.

Balance

Do not neglect the importance of balance between the bass melody and the accompaniment part! The melody line is ALWAYS more important! Consequently, it should be performed as the overall focal point of the piece. This can be accomplished by playing melody notes with rest strokes or by simply playing them louder.

Dynamics

Many beginners have a tendency to slow down when playing quietly. Inversely, they also speed up when playing at louder volumes. Do not fall into this habit! The tempo should not fluctuate unless a specific tempo change is indicated such as accelerando (speed up gradually), ritardando (slow down gradually). Regular practice with a metronome will eliminate this problem.

Changes in Timbre

In the opening scene, you probably noticed that Pamela played with a "metalico" tone in certain sections. Imitate the color changes demonstrated in this scene. Or, feel free to get creative and make your own color adjustments. If you decide to insert your own changes in tonal color, remember that these changes cannot be added arbitrarily. Changes in color must be made for a specific musical reason such as highlighting the phrase structure.

Middle Section (Right Hand Fingerings)

As mentioned before, the middle section (mm. 10-25) breaks away from the right pattern that occurs throughout the rest of the piece. Pamela has provided some right hand fingerings for this section in the score. These fingerings will allow you to play with the best possible accuracy and tone. Do not deviate from these fingerings unless you already have a thorough understanding of why specific right hand fingerings are chosen. For example, you must avoid playing two notes in a row with fingers I, M, and A. It is perfectly acceptably to use consecutive strokes with P when performing a bass line. Pamela breaks down the right hand fingerings for this section at 06:10.

Rasgueado

Pamela opts to end the piece with a dramatic "rasgueado." The rasqueado is a technique that classical guitarists borrow from flamenco players to create a percussive strumming effect. Rasgueado is produced by flicking the fingers outward from the palm towards the strings. The back of the nails strike the strings to create a bright strumming attack.

Practicing Rasgueado

Pull the fingers into a loose fist. Rest the thumbnail on the upper corner of the fretboard. Practice flinging each finger out from the palm. The forearm must rotate in a motion similar to turning a doorknob when performing a rasgueado that involves fingers C, A, M, and I. The wrist remains as straight as possible while the forearm turns. Each finger stays extended until the index finger is used. Once the index finger is used, all of the fingers return to the palm of the hand. Watch Pamela closely in the lesson video for a demonstration. Do not move the forearm at all! Keep the wrist in a fixed position. Let the fingers do all of the work.

Developing Control

Pamela demonstrates an exercise at 10:00 that will help you develop control with your rasgueado. When performing a rasgueado with all six strings, you don't have to be very precise. However, you will need to develop a high level of control in order to play more complex rasgueado patterns that involve a variety of different chord voicings and rhythms. Strive for even rhythm as you play the exercise! Practice with a metronome. set to either a quarter note or eighth note pulse.

Practicing rasgueado technique will also help your scale speed. The rasgueado is quite effective at developing the extensor muscles in the fingers. By developing these muscles, the fingers will be able to return to the strings more quickly after performing a stroke. Scale speed is largely dependent upon this factor.

Additional Rasgueado Resources

-Pumping Nylon by Scott Tennant

Publisher: Alfred Publishing Company
ISBN-10: 088284721X
ISBN-13: 978-0882847214

-Lesson 6 from Danny Voris' Phase 2 Classical Guitar series

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