The technique of alzapúa consists of using the thumb like a pick or plectrum. Used in alternating up down strokes, the thumb plays a single melody between chords. If you know what alzapúa is, great. If not, have a listen and watch these samples:
The movement most often used to achieve an effective alzapúa is a circular motion from the right elbow. The hand is either supported on the soundboard, or is totally unsupported (other than by the action of planting on the strings to be played). When the hand is unsupported, the little finger is sometime outstretched and works as a counter balance.
One common problem with people who are learning this technique is not giving the thumb upstroke its proper value. Allow every stroke and every note its full value and keep everything even and everything clear. The impression of speed does not come from velocity, but from a pulsating evenness.
Comments on the exercises
Introduction to alzapúa. Exercises a, b & c.
Exercise A: bringing the thumb back.
- This first exercise focuses on thumb control in both up and down directions and while it is not a specific exercise for alzapúa, it is an excellent exercise for thumb control.
- When I play this exercise in the downwards direction, I find that if I move my thumb in a slightly circular motion, I get better results than trying to move in straight lines in order to shorten the journey to the string attack position.
- Concentrate on planting and bringing your thumb back ready to play in the next note.
Exercise B: thumb trémolo.
- The second exercise is inspired by Gerardo Nuñez who suggests that we practise alzapúa one only one string, just exactly like a plectrum. This is something that I have found very useful with many possible applications while playing.
- Practice scales and chords like this to give yourself variations.
- Keep every stroke, both up and down even and clear.
Exercise C: up only.
- The final exercise omits the downstroke, leaving you to concentrate on the upstroke only. This will help you get a balance between upstrokes and downstrokes when you are playing full alzapúa. Make sure that the upstroke is clear and even. As you play faster and faster, with more confidence, you will find that the thumb down stroke will automatically fill in. Resist this tendency though, whilst you are practising this particular exercise.
Por Bulería
Double alzapúa exercise - bulería.
Once you have mastered the basic technique and it is to some degree automatic, start with this exercise. Take it very very slowly at first and concentrate on getting a clean and even sound.
























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June 15, 2008 at 3:28 am
Logik
Thanks!
The tabs and videos help a lot.
On the ‘demo’ video: am I right that you play a single downstroke on the A-string, coming to rest on the D-string, and then a down-up combo chord [and repeat]?
About the single notes in the Double alzapúa exercise: these are played in plectrum-style without rotation of the wrist/arm, right? Rotating the wrist doesn’t seem to give enough precision for that.
June 15, 2008 at 9:16 am
miguel
Hi,
The answer to all of your questions is “yes”. The single notes of the double alzapúa are played just like the single notes in the normal alzapúa: in my case with a straight thumb which hits the string at a slightly more perpendicular angle that usual thumb strokes.
For me, there is a very slight rotation from the elbow rather than the wrist - rather like screwing in a corkscrew.
What does seem apparent from your post is that you might not have not fully mastered the single alzapúa. Most teachers would recommend that we thoroughly master simple techniques before going onto more complex ones and I could not agree more. I still practise very basic stuff and very very slowly (such as pami and pima arpeggios) before going onto more complex combinations.
I hope that helps and thank you for your contribution.
Miguel
June 15, 2008 at 7:49 pm
Logik
Thanks Miguel. I had another look at the videos and you are right, I was doing the basic alzapúa wrong. I was doing the broad movements involving the whole lower arm for chords only; my strokes on a single string were very ‘local’ with only the thumb. Whereas you come from an inch up and rotate the arm to strike the string downward.
I guess this looked so implausible at first (how to not hit the neighbouring stings on the way?) that I didn’t “get” what was happening.
Definitely awkward but I can see now how it’s possible with practice. Exercise 1B again and again
I think I also understand now how the upstroke (for double alzapúa) works: it doesn’t come ‘out of the air’ but starts from resting on the lower (more treble) string and makes the previous sweep back in the opposite direction.
Gracias!
[BTW, you seem to have embedded the videos in the post now, but they don't show up for me, neither in Firefox nor in Opera.]