Rasgueado, or Rasgeo in Andalusian, is a right hand (if you are right handed!) strumming technique that is distinctly associated with flamenco guitar. Even though this technique has its roots in the classical guitar it is unfortunate that it is not used nearly enough in the classical guitar literature, and when it is, most classical guitarists don’t have much of a foundation in that technique. To quote maestro Pepe Romero: “where does it say in the Sevillanas by Juaquin Turina that you must play rasguedos that suck…”
This 3rd edition of Rasgueado Techniques is 110 minutes of intense video which includes 5 different types of Rasgueados, a Rumba pattern, Alzapua; that crazy wild thing we do only with the thumb that sounds like thunder, and finally the unique sounding Thumb-Noodle Technique. All techniques are broken down in detail, and their application are provided with examples. These are the ultimate tools and techniques you need to play a great sounding rasgueado.
A fair amount of classical guitar repertoire requires a properly executed rasguedo, yet the actual teaching of it and codifying into a detailed method and process is often lacking. This video is as much for a classical guitar player as it is for a flamenco guitarist who wish to once and for all crack the mystery of these elusive techniques. Here you will learn techniques that are not taught in colleges and universities (with the exception of the University of Southern California in Los Angeles, where maestro del Monte teaches :-D ).
If you've played very little flamenco guitar or none at all, this beginner course is perfect for you. You will learn the basics such as holding the flamenco guitar, correct posture, right hand techniques; rasgueados, alzapua, etc. and all the comprehensive exercises covering the fundamentals of guitar playing.
With over 25 years of teaching experience, maestro Adam del Monte breaks down all the fundamental and abstract concepts making it easy and enjoyable for the beginner to grasp with a solid understanding and correct method of work.
All techniques such as arpeggios, free stroke, rest stroke and tremolo, have their origin in the classical guitar developed in the 18th and 19th century. There have been cases where we see remnants of flamenco concepts in the more 'mainstream' guitar literature such as in some Fernando Sor pieces, where there are specific instructions to use rasgueados.
Flamenco guitarists took all those techniques and adapted them to their own musical environment, which is much more rhythmic in nature.
We look forward to having you join our growing family of flamenco guitar players. Valle!
Part 2 of the Flamenco Guitar for Beginners continues with scales in more detail covering the Phrygian scale and the Comprehensive Flamenco scale (a 9 note scale). It also covers flamenco styles in the forms of Tangos, Solea and Alegrias. To aid with the lesson, the videos are annotated with embedded graphics to give students a visual reference on chords, finger positions on the fret board, and rhythmic patterns.
The theoretical and musical basis of any style of music is critical for its in-depth understanding. The Comprehensive Flamenco scale and its complex make-up is a critical tool to giving you a head-start for your own creative toolbox for the future. When you understand the comprehensive flamenco scale in such depth, you will be free to create your own falsetas and chord voicing.
Recuerdos de la Alhambra is without a doubt the most famous and popular tremolo piece ever written. The evocative magic by this haunting melodic line with the subtle yet eloquent baseline has become a classic amongst guitarists of all levels as well as aficionados of the instrument and the public at large.
The technique of tremolo is a succession of three notes (3-hit for the classical guitar and 4-hit for the flamenco guitar) played repeatedly on the same string preceded by a base note, thus creating the illusion of a sustained melody on the guitar. This is one of the more advanced skills and a great challenge for any guitarist. In recent years, Recuerdos de la Alhambra has often become a favorite encore piece due to its easily digestible melody and the romantic mood. The Granada composer and icon, Manuel de Falla once said that the only example one needed to understand and feel the beauty of the guitar would be to listen to Recuerdos de la Alhambra.
According to historical documents, Francisco Tarrega (1852 – 1909) was on a tour with his student Doña Concha Gómez de Jacoby, a wealthy aristocrat who inherited her fortunes and became an avid fan and a follower of Tárrega. It is said that at their visit to the Alhambra Palace in Granada, as the evening fell, he got the initial inspiration for the melody which he then later completed. In the original unpublished version of this tremolo piece that he dedicated to Doña Concha, Tarrega wrote “Since I can’t offer you a gift of greater value on the day of your saint, accept this, my poor little poetic note and impression of what my soul felt before the great marvel of the Alhambra we admired together in Granada”.
In this lesson you get an in-depth explanation of the interpretation and the phrases as well as the analysis of the dynamics. You are also given the keys and the solutions on how to get the difficult phrases to flow comfortably. If you are new to tremolo or you are not confident about your technique, we encourage you to sign up for Tremolo Technique first where you get an in depth study and a step-by-step set of instructions and exercises on both classical and flamenco tremolo techniques.
In this lesson Adam del Monte is playing a classical guitar by the master luthier Erez Perelman with spruce top, Indian rosewood back and sides
Without a doubt Mauro Giuliani (1781 –1829) and Matteo Carcassi (1792 – 1853) are two of the most important composers for the classical guitar. They created some of the most brilliant set of etudes (studies) that classical guitarists of all level continue to study and incorporate in their daily routines. In this comprehensive lesson Adam del Monte breaks down a set of five etudes both technically and expressively.
The studies we have selected for this lesson are excellent choices for the advanced-beginner to the lower-intermediate level classical guitarist. You will be focusing on the execution of simple to a more challenging phrases with the proper attention to the tone quality and ease-of-playing. Too often students gloss over this critical stage of their development, and instead they take on the difficult pieces that are beyond their level. Here, we take the opportunity to program a relaxed way of playing using "easier" pieces, while allowing the more skilled players to go back and fix basic tension and bad habits. You will be focusing on arpeggio patterns and exercises, counterpoint voice leading, basic tremolo and the articulation of phrases.
You will be covering the following guitar etudes in this lesson:
Bulerías is arguably the most popular and beloved form in flamenco because of its exciting and fiery rhythm and feel. Jerez is considered the birthplace of the Bulerías and the Jerezanos are very proud of this marvelous tradition. Bulerías is the most played form in social gatherings known as Juergas; for the flamencos it is their sacred ritual of human and social expression.
This Bulerias Studies 2 features several new compás patterns, remates as well as five falsetas that you can perform as part of a solo composition or accompanying singers and dancers. These falsetas cover a range of technical difficulties and styles.
Falseta 1 is Adam del Monte’s personal view of a classic and famous falseta by Moraito Chico from Jerez who was a great Master of Bulerías. Falseta 2 is a perfect “safe place” to have under your belt ready to fire at any time. Played with all thumb, this falseta is fun, easy and enjoyable to play. It’s also a great way to practice your thumb-melody. It’s a traditional falseta that will never go out of style when played in Juergas, or flamenco party-jams, for a cantaor or as a solo. Falseta 3, is the longest and most complex of the falsetas in this study. This falseta takes advantage of many mechanisms, giving you a variety of textures and types of phrases. In this falseta you’ll have the opportunity to practice going from thumb-playing to semi-alza púa to arpeggio and rasgueado. This falseta is perfect for a solo in Bulerías. Falsetas 4 & 5 are inspired by Adamdel Monte’s teacher Pepe Habichuela. A simple thumb phrase but full of flavor, combined with some very cool alza-púa technique which help make this falseta a classic to have in your pocket. The remate is Adam del Monte’s own and it uses the chaflanes technique for extra power at the end.
In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman
Advanced Beginner 
Beginner 
Intermediate 
Advanced 
