Best Rumba Flamenca Guitar Techniques for Beginners | JamPlay Lesson

hi i'm marcelo from jamplay and i'm going to teach you how to play the basic rumba Flamenca strum please keep in mind that there are many different ways of playing this rhythm and if you look at guitar players from different parts of the world you will find different variations so the first thing we're going to do is I'm going to teach you seven moves and then move number eight so a total of eight moves for your right hand let's begin with move number one move number one it's going to be with the thumb and what we're going to do is we're going to mute the strings of the guitar and then we're going to do move number one striking all the strings with the thumb going down on the strings like that that will be move number one at the end of move number one your right hand will be under the strings getting ready for move number two move number two is going to be up with the thumb so that will be move number two moves one and two together one two one two one two one two four move number three we're going to use our fingers if you're looking at the PDF you will see it's his hand meaning the rest of your right hand some people might want to use two fingers some people may feel more comfortable using three fingers sometimes if it's a heavier song you might use three fingers if it's a lighter sound that you're looking for you might use only one but the point is that move number three it's going to be an accent so four move number three you want to have a little bit of an accent going down moves one two and three together one two three one two three one two one two three one two three one two three one two three at the end of move number three once again your hand is underneath the strings getting ready for move number four which is the same as move number two up with the thumb so we have let's review four moves one done with the thumb two up with the thumb three done with the fingers four up with the thumb one and two three four one two three four one two three four one two three four the next move number five is going to be with the palm of your hand hitting the top of the guitar imitating the sound of a percussion instrument such as the bongos perhaps that study one day that the bongo player fell asleep and didn't make the gig and the guitar player had to make up for it so that's move number five simply put your right hand on the strings there's two ways to do move number five you can very softly use it to stop these strings from ringing or you can actually do it more progressively and it's a matter of preference you can do it either way or both ways depending on the song so let's review the first five moves one and two three four five one two three four five one two three four five one two three four five let's try it a little faster one two three four five one two three four five now move six and seven are really easy but the problem is put in one two three four five six and seven together so I suggest that you practice one two three four five a lot until your right hand feels very comfortable with one two three four five let's review one last time done with the time is one up with the thumb - done with the hand is three up with the thumb is move number four and five is with the palm move six and seven you're already on the strings with the palm that was move number five and now move number six you're simply going to lift your hand and touch the strings on your way up five six five six and seven it's just done with the hand again done with your fingers five six seven so the first way that you should be practicing these moves I would suggest should be just practice 1 1 1 1 when you feel comfortable with 1 you go ok I feel comfortable with that 1 2 1 2 1 2 1 2 1 2 1 2 1 2 3 1 2 3 1 2 3 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 then you practice five six seven five six seven five six seven five six seven five six seven after you've done that you can try to put them together that's where the fun begins 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 now I told you at the beginning that I was going to show you also move number 8 move number 8 is optional some players use it some players don't use it and some players use it very casual and some songs where you can barely hear move number eight at the end of move number seven you are once again underneath the strings your thumb is underneath the strings getting ready to strike on the way up but sometimes barely touching the strings on the way up so I would practice this rhythm first with the seven moves and then try to add move number eight but if you're practicing the seven moves and on the way up your hand you're when you move your hand up your thumb touches the strings on the way up that would be move number eight you can use it or not use it that's up to you once again one two three four five six seven now here's a practising tip I find that a lot of people when they try to learn this rhythm as soon as they try for the first time moves number six and seven they make a mistake so I like to make it like a game and the game goes like these every time you make a mistake after six and seven you give yourself four more times of doing only one two three four five so now I'm going to pretend I make a mistake on six and seven and I'm going to show you what I would do when I'm practicing if that happens practicing one two three four five and then I'm going to try six seven I made a mistake again I made a mistake then one two three four five four times the best way to get six and seven right is that when you are a move number five you can learn to relax your shoulder your right shoulder we have a tendency to get tense and start getting tense and moving forward like that and that will not be helpful to this rhythm you want to try to relax your right shoulder that way you can make all the moves one two three four five six seven or with number eight in the next scene we're going to be applying this rhythm to a chord now that you feel comfortable with the moves of the right hand for the basic rumba Flamenca strom we're going to try to apply it to a chord we're going to do it with an a minor chord in the fifth position that's a bar in the fifth position a minor but if you find that practicing this rhythm over one chord makes you tired tired from holding the bar chord too long and you can switch to a an open position a minor when you get more advanced you will see why it's better sometimes to use Barre chords is because you're your left hand we'll help you with some of the muting of the strings that you don't want to hear ringing but at the beginning it's okay to do it either way so here we go move number 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 now I'm gonna do it with the move number eight that I also showed you one two three four five six seven eight I suggest that you practice this rhythm over one cord until you feel very comfortable it doesn't have to be a minor you can work with any car that you want to do it now when you feel very comfortable with playing one chord and playing the seven or eight moves whichever one you choose then there is a little more advanced variation that I would like to show you from the beginning so that you will understand why when you listen to some of the professional players play this rhythm it sounds a little different than the way I showed you the way I showed you has a lot of emphasis on the first move but when a player is actually playing a song it doesn't put emphasis on the first beat of every bar during the song check this out if I'm playing a minor instead of going one one what a player will usually do is make the accent of one only prominent in some of the bars and not others so sometimes what you want to do is you want to skip that one but you want to still do the right hand motion so that your hand will be in the right position so in slow motion what I'm saying is that instead of playing one you play one skin see I'm skipping skip I'm skipping but I'm still making the motion so that I can do move number two from the bottom of the strings of course Perelman the guitar this is the bottom and this is the top so I'm talking visual bottom not pitch bottom right now in the next scene we are going to apply this rhythm to what's probably the most popular and famous Spanish guitar chord progression of all times the Andalusian Kallen's the Andalusian cadence is the corporation that you've heard probably many times if you've heard any Spanish guitar music not only flamenco but also other kinds of Spanish music and Latin music in general and that progression is a minor to G major to F major to e a minor to G major to f-major to be now something that I find interesting that has to do with theory is that in the Western world in western music we would consider that this chord progression is in the key of a minor with a minor being the one chord and the last chord e being the five chord or the dominant in that tonality I think that a lot of young guitar players have a lot of confusions when it comes to modes because they learn the modes as shapes and sometimes don't really understand when do you really need to use a mode and understand what mode really is well this is an excellent example of what a mode is because this is a Phrygian dominant progression and in this progression and in the minds of all flamenco guitar players and flamenco aficionados this is the one chord that's why sometimes when you're listening to some flamenco music maybe it's playing this kind of progression and then all of a sudden the song ends on that chord and to our ears sometimes it sounds a little odd but that's the way it is if it was regular western music or like it happens in a lot of pop songs that use this you might see that at the end it goes but in flamenco music that will never be the one chord never this is the one chord so this progression in the Phrygian dominant mode which is a mode of the harmonic minor scale will be four three two and one and it's a really interesting progression for those of you that later will try to improvise little lines over this progression because in these provisions in this chord progression we have the presence of the note G natural and then we have the presence of the notes G sharp in the same progression we will go over that more in the future in a different lesson that will deal with how to play over these chord progressions so now that you understand the undulation cadence and by the way currents means chord progression and andalusian means from Andalusia Andalusia it's a region of southern Spain many people claim that that's where flamenco comes from and a lot of all flamenco songs have this chord progression kind of like in blues you have the one four five that is common to so many songs and many old flamenco songs you will find and hear this chord progression so let's try to apply the rhythm the rumba Flamenca basic strum to the Andalusian garden's remember one two three four five six seven one two three four five six seven I always like to start with a muted guitar before I play a progression so a little slower one two one two three four now I'm going to play without putting so much emphasis on the one although I suggest that you practice putting all the emphasis on the one until you feel really comfortable with the rhythm let's try that a little faster now a move you

Channel: JamPlay

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Keywords: Marcelo, Flamenco, Spanish, guitar, strumming, Rumba, JamPlay, Liepe, Acoustic, Classical

Id: 77ScJgcOhZ0

Length: 17min 46sec (1066 seconds)

Published: Tue Apr 17 2012