Marote Rasgueado #3 (Guitar Lesson)
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Marote Rasgueado #3
Mario DaSilva wraps up the rasgueado techniques with the 16th note subdivision of the marote rasgueado.
Taught by Mario DaSilva in Flamenco Guitar with Mario DaSilva seriesLength: 3:48Difficulty: 0.0 of 5
Compás: is a repetitive section of a given dance that sequences itself by only a few bars, which gets its character and uniqueness from its own chord progressions and rhythmic characterizations.
The ones studied here are not all the compasses there are in flamenco. They are:
MALAGUEÑA, RUMBA, SEVILLANAS, FARRUCA, SOLEARES, BULERIAS, ALEGRIAS, FANDANGOS DE HUELVA, GUAJIRAS AND SEGUIRIYAS.
Falseta: a melodic statement that is plugged into the compas. They can be improvised, composed by the own guitarist, or they can be used as a quotation from another. Falsetas are only credible if composed with stylistic appropriateness to the compás in question.
Coplas: a folk melodic treatment is included within the compás.
Rasgueado: multiple finger strokes; Marote rasgueado: multiple finger strokes with the aid of thumb.
Arpeggios: (ascending, descending and combined) fingerpicking applications; “Arpeggios por Farruca...”
Golpe: stroke with fingernail on the top of guitar as strings are strummed, or played singly.
Golpeador: the invisible protection against golpes, which is glued above the top of the guitar.
Ligados: slurred notes by means of hammer-ons or pull-offs.
Disjunct lines: lines which are built skip-wise rather than step-wise or scale-wise.
Apagados: the technique of muting the strings after a stately strum, either with the palm of the right hand or the left hand's little finger.
Alzapúa: multiple and brisk ‘thumb only’ strokes in an upward and downward motion that are used to create high rhythmic excitement in a given passage.
Picado: the way in which melodies are performed in flamenco. It is similar to the ‘rest stroke’ used in classical guitar.
One Octave: the first eight notes in a scale that can begin on any scale degree.
Tremolo: the device used in guitar execution to sustain notes as if played by a bowed or wind instrument. All fingers are required to perform the tremolo: p, i, a, m.
Ayudado: translation; "helped." Performing melodic thumb duties with the middle finger resting on the B string.
Salidas: the closing last bars of either an entire dance or just a smaller section.
Silencio: slower and somber passage within the context of the Alegrias.
Escobillas: another passage within the context of the Alegrias that features foot work.
Video Subtitles / Captions
Supplemental Learning Material
Flamenco Guitar with Mario DaSilva
Found in our Beginner Lesson SetsLearn the techniques and dance accompaniments associated with the Flamenco guitar.
Lesson 1
Introduction to Flamenco Guitar
Mario DaSilva introduces himself and the Spanish art form of flamenco guitar.
Length: 4:06 Difficulty: 0.5 FREELesson 2
Basic Strumming
Mario DaSilva starts to break down flamenco guitar techniques, starting with a basic one finger strum.
Length: 4:49 Difficulty: 1.0 Members Only
Two Finger Rasgueado
Mario DaSilva starts to break down the different versions of the flamenco rasgueado. He starts with the triplet subdivision using two fingers.
Length: 4:32 Difficulty: 2.0 Members Only
Four Subdivision Rasgueado
Mario DaSilva breaks down the stroke pattern for the sixteenth note rasgueado.
Length: 3:06 Difficulty: 2.0 Members Only
Five Stroke Rasgueado
Mario DaSilva breaks down the five stroke rasgueado technique. He continues to use the Soleares in his examples.
Length: 2:10 Difficulty: 2.0 Members Only
Six Stroke Rasgueado
Mario DaSilva turns up the heat with a six stroke rasgueado technique.
Length: 2:44 Difficulty: 2.0 Members Only
Marote Rasgueado
Mario DaSilva begins to break down what are known as the marote rasgueados. This technique involves subdivision using both the thumb and fingers.
Length: 3:23 Difficulty: 2.0 Members Only
Marote Rasgueado #2
Mario DaSilva demonstrates an alternate way to perform the marote rasgueados.
Length: 2:03 Difficulty: 2.0 Members Only
Marote Rasgueado #3
Mario DaSilva wraps up the rasgueado techniques with the 16th note subdivision of the marote rasgueado.
Length: 3:48 Difficulty: 0.0 Members Only
Arpeggios
Mario DaSilva begins to teach the arpeggio techniques utilized in the flamenco style.
Length: 3:06 Difficulty: 2.0 Members Only
Combination Arpeggios
Mario DaSilva adds the ascending arpeggio to the repertoire and combines it with the descending arpeggio.
Length: 5:10 Difficulty: 2.0 Members Only
16th Note Arpeggios
Mario DaSilva demonstrates arpeggios subdivided into sixteenth notes. He introduces a new compas called the Farruca as well as the golpe technique.
Length: 11:09 Difficulty: 2.0 Members Only
Ligados
Ligados are slurred notes used to create melodic content within a compas. In this lesson, Mario will be demonstrates ligados using the Soleares. He then demonstrates how to combine strumming, ligados,...
Length: 11:05 Difficulty: 2.0 Members Only
The Alzapúa
The Alzapúa is a fast, thumb only picking technique designed to project and create a more flamenco-styled sound. In this lesson, Mario provides some drills that will help you master this technique.
Length: 6:20 Difficulty: 2.0 Members Only
The Alzapúa #2
In the second lesson for the Alzapúa technique, Mario discusses why you would want to use this technique over a standard fingerstyle pattern.
Length: 2:08 Difficulty: 1.5 Members Only
Scale Usage
Mario DaSilva discusses and demonstrates how scales are incorporated into the flamenco style.
Length: 8:34 Difficulty: 2.0 Members Only
Building Endurance
In lesson 17, Mario discusses endurance and ways to built upon it for speed and accuracy.
Length: 9:00 Difficulty: 1.5 Members Only
Arpeggio Drills
Mario DaSilva provides several drills to help build your arpeggio skill. He uses the Malaguena dance as an example for these drills.
Length: 3:29 Difficulty: 2.0 Members Only
Tremolo Technique
Mario DaSilva demonstrates how the tremolo technique is utilized within the confines of the flamenco style.
Length: 4:22 Difficulty: 1.5 Members Only
The Malaguena
Now that Mario has covered the basic techniques needed to play in the flamenco style, he begins to break down the individual dances from the style. He starts first with the Malaguena.
Length: 22:42 Difficulty: 2.5 Members Only
The Rumba
Mario DaSilva breaks down and demonstrates the famous Rumba dance.
Length: 11:40 Difficulty: 2.0 Members Only
The Sevillanas
In lesson 22, Mario DaSilva breaks down the Sevillanas.
Length: 11:20 Difficulty: 2.0 Members Only
The Farruca
Mario DaSilva takes an in depth look at the dance he initially introduced during his technique lessons.
Length: 13:45 Difficulty: 2.0 Members Only
The Soleares
You'll remember this dance from the beginning of Mario's technique studies. In this lesson, Mario covers the Soleares in its entirety.
Length: 14:02 Difficulty: 2.0 Members Only
The Bulerias
Mario DaSilva breaks down the Bulerias. He includes the basic compas, variations, as well as several salidas to use.
Length: 21:16 Difficulty: 2.5 Members Only
The Alegrias
In lesson 26 of his Flamenco guitar series, Mario DaSilva breaks down the Alegrias dance.
Length: 14:39 Difficulty: 2.5 Members Only
Fandangos de Huelva
In lesson 27, Mario DaSilva breaks down the Fandangos de Huelva.
Length: 13:35 Difficulty: 2.5 Members Only
The Guajiras
In the 28th lesson of his Flamenco series, Mario DaSilva discusses and breaks down the Guajiras.
Length: 14:57 Difficulty: 3.0 Members Only
Seguiriyas
Completing his studies on the dances of Flamenco, Mario Dasilva offers up a lesson on the Seguiriyas.
Length: 11:24 Difficulty: 3.0 Members Only
About Mario DaSilva
View Full Biography
Mario DaSilva is an expert classical and Flamenco player who has toured and played with some of the finest musicians in the business, including the following: Nashville Chamber Orchestra, Belmont University Orchestra, Indiana University SE Orchestra, Bowling Green Chamber Orchestra, Nashville Ballet, Lari White, Chuck Cannon, Little Big Town, Muriel Anderson, Felipe De La Rosa, Bruce and Sandra Dudley, Lori Meecham, and Tracy Silverman.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Using the Soleares with the different strumming techniques was extremely helpful in expanding to the varieties of flamingo. It also provides a basis for experimentation from my varied studies to use. I feel your structure has a solid base to grow and create. Thank you!! and Gracias amigo!
Mario, I appreciate you using a starting foundation with the Soleares.
Dear Mario, Good lessons. Are you also planning to put some songs like the on in "Ciclone, Il, (The Cyclone) (1996)" and a famous actor played a song on guitar whihc also turns into a gun but cannot remember his name (relatively new movie) Regards Rama
I believe it was Once Upon a Time in Mexico with Antonio Bandares