Scribd
Upload
276 views5 pages

Tango With Rasgueado PDF

This document discusses techniques for playing Argentine tango music on guitar using rasgueado strumming. It focuses on accompanying the famous tango song 'La Cumparsita' using either alternating one-stroke and three-stroke rasgueado or combining down-strumming with flamenco triplets while muting between chords. Exercises with tablature are provided to demonstrate these rhythmic variations.

Uploaded by

Raaghav Singhania
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
276 views5 pages

Tango With Rasgueado PDF

This document discusses techniques for playing Argentine tango music on guitar using rasgueado strumming. It focuses on accompanying the famous tango song 'La Cumparsita' using either alternating one-stroke and three-stroke rasgueado or combining down-strumming with flamenco triplets while muting between chords. Exercises with tablature are provided to demonstrate these rhythmic variations.

Uploaded by

Raaghav Singhania
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

17.

Tango with Rasgueado


____________________________________________________________________________________

17.1. Tango Played with Rasgueado


Tango is a partner dance that originated in the 1880s along the River Plate, the natural border
between Argentina and Uruguay, and from there it spread to the rest of the world. The
instrumentation includes nylon string guitar and bandoneon (a type of concertina particularly
popular in Argentina and Uruguay).

Probably the most famous song ever written is La Cumparsita by Gerardo Hernán Matos
Rodríguez (March 28, 1897 – April 25, 1948).

Disclaimer: Argentine tango players use different techniques, one of which is the original
“milonga” (meaning place or event) genre that is played in 2/4 time. They do not mute every
beat. The technique described below is one that I developed that sounds good when
accompanying “La cumparsita”.

Picture 17.1.1. Cosea Mandinga Argentine tango duo during performance


The chord progression is E major, A minor, E major, A minor, D minor, A minor, and finally E
major. It is in 8 or two bars of 4/4 time. Each variation can be played using two different methods:

1. The first method alternates the one-stroke rasgueado and the three-stroke rasgueado
techniques.
2. The second method combines down-strumming with all the fingers and the flamenco
triplet.

To get the right sound for both methods, muting’s are incorporated after every strum. As
explained in section 15.1, the chord is held then suddenly released, resulting in a brief silence in
between each chord. The two rhythm variations are shown below.

17.2. Exercises
Exercise 17.2.1. “La Cumparsita” with one triplet
With muted rasgueado and three-stroke rasgueado it is possible to create a “tango” like rhythm.
In this accompaniment legato and staccato are also used as techniques. It can also be played using
the second method.
TAB 17.2.1. “La cumparsita” with one triplet
Exercise 17.2.2. “La cumparsita” with two triplets
This exercise is very similar to the previous one except that there are two, three-stroke
rasgueados or two triplets in the accompaniment.
TAB 17.2.2. “La cumparsita” with two triplets

You might also like