APAGADO. SLAPS (in Rumba) SLIDES LIGADOS CONTINUOUS RASGUEO Apagado is the technique by which the sound of a chord is abruptly silenced by damping the strings with the right or lefthand, immediately after a chord has been struck by a rasgueo stroke. When this is done with the left hand, the little finger is brought down very lightly straight across the strings, thereby stop- ping them from sounding. This is indicated in the notation and cifra by a vertical bracket across the stave immediately following the chord, with a 4 above it to indicate the 4th finger of the left hand, as shown below (left): = i Right hand apagado has R above the bracket: The second solo in the Suite employs slepping techniques which are charac- teristic of the rumba rhythm. The symbol (S] indicates a slap on the golpeador with the pads of the righthand fingers, whichare slapped flat across the strings in the normal playing position between soundhole and bridge. The symbol © indicates a slap onto the face of the guitar, just to theneck-side of the soundhole. In both types of slapping movement the palmar surface of the fingers is brought down at right angles across the strings, thereby stopping their vibra- tion. A short sloping line between two identical left hand fingering numbers in the music notation (or, in the cifra, between two consecutive numbers) indicates that the second note is sounded by sliding the left hand finger, without striking the string a second time. This is shown at the beginning of the first solo. There is first a slide upwards by the 4th finger from A to Bflat, and then a slide down to the A again: Fr td ne " P A slur linking consecutive notes of different pitch indicates that the notes following the first note in the group are played only with the left hand by ‘pulling-off (tosound a lower note) or ‘hammering- on’ (to sound ahigher note). At the beginning of the first solo there are long passages of opens. be mr ligado played only by the left hand, e. The continuous rasgueo at the end of the first solo is played by rapid repetition of the four-stroke rasgueo (e, a, m, i, consecutively). The strokes of each finger are not shown in the notation and cifia. Instead, the rasgueo is shown by the chords to be played, with a triple slash on the stem, as follows:LA FERIA Rumba Juan Martin Damp stings weet Cejilla at 2nd fret Jeu @ ® © 8 © ‘ 7 ma2 Ss Y ‘ma p mama p ma map ma ma p ma ma [+ ma” map mama p mama p ma ma p ma ma p ma ma Damp strings| V2 > Ty Y withigthand) Mama p ma map| mama p over high ret i mama p mamap mamap ma map mama p ma ma © ® ce i ma map ma map ma map ma map © a © Raegueo on tapout 9f guitar 4 ma map fey dG ma map mama p “lepthandfngring shows approcinae positon of fagertwhen damping sings International Music Publication: Limited © 1995 Flamencovision & Patrick Campbell Southend Road, Woodford Green, Essex IGB SHIN, England jun Mort's mule compusions © Juan Marto Muse, P.0.80x 308, Landon NS SS? 24ae ma p i ° ye qe ¥ Peigiege pie ies se ey rere pp "pe PP Fo sieg aie aie P Ppp Ppp Ppp Ei HEH sats a ea P i opp pp pp Pp C2 pe Pe F Re PP Pr PP 27ze -— ee cf Upp ppP ppp & P map iii pp pP PP PP 283 3 — 5 hire PoP ppp BP Pp a PP PP ty —~ hokoAO poimap iii p ma p i e@amip Pp paidma pro ini SEE Het ERR iais aide 2 2 Pp. map ii eamipmap i i 302 2 t pomppm pp mp ip rates robo o-k ok f weet Pp opm ppm ppm pp ma ma ma p ma p a eee P map tot ¢ ma map ma map 31mama” p mama’ p | ma ma 4 8 4 S +0} 0- 4 es ett ees 45 y mia map mama p mama p mama p ma ma p ma map me R= pm ppmppmp p P S401 ote rote # tivated 1S. ma ma visite mama p 4 mama p mama p ma map P (sean 3 mp pimp p mp p 32