Patrones de rasgueo
Lesson time: (2min 49sec)
Tom Bekeny muestra el chop percusivo de la mandolina que impulsa a una banda de bluegrass, acentuando el backbeat para hacer las veces de la batería.
Course preview
This lesson is part of the course Mandolina para principiantes con Tom Bekeny
Watch a preview of the full course below.
Lesson transcript:
Percussive Chord Playing in Bluegrass
In today's lesson, we'll be exploring a percussive approach to playing chords in a bluegrass band. The key focus will be on accentuating the backbeat.
Understanding the Backbeat
- If the music counts as 1 and 2 and 3 and 4, your playing will emphasize:
- 1 and 2 and 3 and four
- 1 and 2 and 3 and 4
To help you stay in time, you may want to lightly hit one of the low strings on "one."
Basic Percussive Technique
At its most pared-down version, you're just hitting the backbeat:
- 1 and 2 and
- 1 and 2 and
- 1 and 2 and
- 1 and 2.
This involves hitting a downstroke. You can make that chord very percussive to the point where it's hardly a note at all. Many contemporary bluegrass players employ this technique.
Exploring Different Sounds
- You can also create a sound that's more "ringy":
- Notice that this is hardly percussive at all.
- The middle ground might be a blend of both techniques.
Achieving the Percussive Effect
To get the percussive sound, you need to control all the strings:
- Cutting off the sound involves:
- Letting up on the strings without completely taking your fingers off.
- Instead of pressing down, release the tension slightly to let the strings come up to their normal height, which kills the sound.
Enjoying Rhythm in Bluegrass
Playing rhythm in a bluegrass band is really fun! There are many different sounds you can explore. Your palate will define how percussive you want to be.
Different Chord Varieties
- You may want the chords to be:
- A little more ringy
- More percussive
- Emphasize the downbeat
Another way to conceptualize this is "boom, chuck":
- boom, chuck, boom, chuck
- boom, chuck, boom, chuck
- Leave the boom off for variation.
Experimentation
These are elements you can experiment with during your practice. See what happens and discover what works best in the context of the music you're playing.
About the instructor

Tom Bekeny es mandolinista, violinista de fiddle y experimentado profesor de mandolina que ha actuado y enseñado en Estados Unidos y en el extranjero durante más de 40 años, así que cuando desglosa cómo tocar, estás aprendiendo de alguien que ha pasado toda una vida tanto sobre el escenario como en el aula. Fue el mandolinista de bandas de la zona de la bahía de San Francisco como Done Gone, Tenbrooks y una versión temprana de la Grant Street String Band con Laurie Lewis. Ha aparecido con Peter Rowan, los Rowan Brothers, David Grisman, George Cole, la vocalista Lua Hadar y Jerry Garcia. Tom ha tocado la mandolina con la muy aclamada Kathy Kallick Band durante casi 20 años y ha ocupado el puesto de fiddle en High Country, la banda de bluegrass tradicional por excelencia de California, desde 1988. Ha grabado con muchos de estos grupos y apareció en el número de verano de 2009 de Mandolin Magazine. Tom también toca en la enormemente popular banda de "jam" de bluegrass tradicional Bangers and Grass, junto a luminarias del bluegrass de la Costa Oeste como Jim Nunally, Steve Pottier, Bill Evans y Chad Manning. Más allá del bluegrass, Tom toca mandolina de jazz con su trío The Missing Man Quartet (MM4), que interpreta jazz directo con arreglos originales que toman material del mundo del jazz y de los estándares del Great American Songbook. En 2013 publicó un proyecto de CD en solitario ("Jazzolin"), en el que toca la mandolina y el fiddle acompañado de batería y bajo. read more




