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8 FINGERSTYLE PATTERNS FOR RONROCO

EXPLORATIONS OF TECHNIQUE

Don Bergland

   

Supported by Audio Files on YouTube  

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8  FINGERSTYLE  PATTERNS  FOR  RONROCO  ..............................................................................  3  

 

4/4  FINGERSTYLE  PATTERNS  ...................................................................................................  5  VUELO  ..............................................................................................................................................  5  USHUAIA  ..........................................................................................................................................  5  ASCENSO  ..........................................................................................................................................  6  ESCALERA  .........................................................................................................................................  7  

 

6/8  FINGERSTYLE  PATTERNS  ...................................................................................................  7  INTENTO  ..........................................................................................................................................  7  CAIDA  ...............................................................................................................................................  8  DOBLAR  ...........................................................................................................................................  9  PAMPA  .............................................................................................................................................  9    REFERENCES  ...................................................................................................................................  10  

     

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8 FINGERSTYLE PATTERNS FOR RONROCO The ronroco is a South American instrument that has gained contemporary prominence through the performances of Gustavo Santaolalla, who primarily uses a fingerstyle technique on the instrument.

Figure 1 - Santaolalla and fingerstyle (Encuentro en el Estudio, 2012) Fingerstyle is a word used to refer to a string playing technique that elicits sound through the careful use of the fingers of the right hand. Instead of strumming chords, the player uses each individual finger (including thumb) on individual strings of the instrument to create the sound. My own particular interest focuses on fingerstyle over strumming techniques. I like the wonderfully interactive interplay between strings and individual fingers that the ronroco re-entrant tuning offers. This seems to be a very choreographic and balletic endeavor, capable of eliciting great beauty and reflective quality from the instrument. One of the unique features of the ronroco is the re-entrant tuning and the fingerstyle possiblities this tuning system offers. The fingers easily and gracefully fit themselves around this tuning and allow arpeggios to fluidly flow from simple fingerstyle patterns. I was originally inspired to purchase and begin studying the ronroco through my observance of Gustavo Santaolalla and his playing technique. I'm now at a stage where I have learned a few interesting patterns and have started to work on ways to integrate and modify them. I've found set of patterns that work for both 4/4 and 6/8 metrics and I'm creating some methods of

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naming and documenting these patterns. Please understand that my current state of learning is very rudimentary and I don't offer these fingerstyle patterns as a skilled virtuoso on the instrument. I am a beginner, merely sharing the results of my own learning. This is definitely not meant as an informed voice of wisdom or knowledge concerning this instrument. These patterns are just a few amongst thousands that exist. I am just beginning my journey on ronroco. As I learn more, I'll continue to name, document, and write about them. Note - Patterns are interesting devices. Whenever one identifies a pattern in life, it needs to be named. Without a name, the pattern has no identity and is easily lost or forgotten. With a name, the pattern can be recalled, used in new combinations, and shared with others. I'm almost certain that there is no universal or standardized system for naming the ronroco fingerstyle patterns that exist. So, in order that I might learn the patterns easily and be able to repeat them when needed, I have decided to give names to each of the patterns. I have chosen names from the Spanish language, and also terms from some of Santaolalla's work which utilizes the pattern. I am certainly not expecting this to become anything of use beyond my own personal learning methods. If others find this system helpful, then I invite them to travel along in the journey. Playing these Patterns from this resource assumes that the reader can use standard Tablature. In terms of notated conventions, I am using the following for the Right Hand:

Figure 2- The Right Hand I will be using this convention throughout the discussion of the patterns. P - Thumb I - Index Finger M - Middle Finger A - Ring Finger

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4/4 FINGERSTYLE PATTERNS These patterns all work within the standard 4/4 metric as well as the 2/4 metric. Note that there are all kinds of style variations on the 4 Patterns I've documented below.

VUELO This pattern moves up in a rising motion and so it earned the name, "Vuelo." This pattern has a wonderfully lyrical quality to it and sounds very fluid when played on ronroco. This pattern uses all three fingers. The pattern -P-I-M-A, played on different strings. P(String 5)- I(String 3)- M(String 2)-A(String 1). Note that in the second iteration of the pattern, the thumb (P) moves to the 4th string (alternating thumb).

Figure 3 - Vuelo Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this pattern is available on YouTube – Vuelo - https://youtu.be/jkFM5WIB_Os)

   USHUAIA  

This name is selected from Santaolalla's composition called "De Ushuaia a la Quiaca," where this particular pattern repeats itself many times. This is a very hypnotic and rhythmic pattern and works well in the 4/4 metric. This pattern uses all three fingers and a "pinch" with Thumb and Ring finger playing notes together (I'll designate the "pinch using a slash, e.g. P/A). The pattern - P/A-M-I-A, played on different strings. P(String 5) and at the same time, A(String 1), then - M(String 2) -I(String 3) -A(String1).

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Figure 4 - Ushuaia Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Ushuaia - https://youtu.be/bvBU68VcVko) Practice - Try playing Vuelo and Ushaia in alternate measures. Then move through different chords while alternating between the two patterns.

ASCENSO  

This pattern has a distinct rising inflection to it, so gained the name, "Ascenso." This pattern, uses thumb and two fingers (index and middle). The pattern goes" Index, Thumb, Middle, Thumb (I-P-M-P). played on different strings. I(String 3), P(String 5), M(String 2), P(String 4). This pattern has a very melodic quality to it and offers a nice rhythmic focus on String 3.

Figure 5 - Ascenso Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this pattern is available on YouTube – Ascenso - https://youtu.be/r7I7cKLyp4s)

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ESCALERA  

This pattern is a continuation of Ascenso. Because the pattern moves up and down in sequence, it is named, "Escalera." This pattern has a wonderfully lyrical quality to it and sounds very fluid when played on ronroco. This pattern uses all three fingers. The pattern - I-P-M-P-A-P-M-P, played on different strings. I(String 3)- P(String 5)- M(String 2)-P(String 4)-A(String 1)-P(String 4)-M(String 2)-P(String 5).

Figure 6 - Escalera Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Escalera - https://youtu.be/ir4j_A2wKmk) Practice - Try playing Ascenso twice, then Escalera once, repeating them over and over. Then try playing Vuelo, Ushuaia, Ascenso, and Escalera together in a variety of integrations. They are all in 4/4, so should fit together in interesting configurations. Then move through different chords while alternating between the all the patterns.

6/8 FINGERSTYLE PATTERNS The next set of Fingerstyle Patterns are different in terms of their metric. They all use a rhythm that offers a pattern using 3 beats as the core structure. This works in 6/8 or 3/4 time. Note that there are all kinds of style variations on the 5 Patterns documented below.

INTENTO This is a very quick pattern with a sense of driving intention. It is similar in nature to Vuelo, but uses two fingers instead of three. The pattern uses Thumb, Index, Middle, (P-I-M) played on different strings - P(String 5), I(String 2), M(String 1). Note that in the second iteration of

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the pattern, the thumb (P) moves to the 4th string (alternating thumb). This pattern can be made to occur very quickly and rhythmically.

Figure 7 - Intento Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Intento - https://youtu.be/42fkVtc4qgU).

CAIDA This is a very quick pattern using three fingers and has a sense of forward momentum. It is much like Ushuaia, but leaves out one beat of the Ring Finger. This pattern uses all three fingers and a "pinch" with Thumb and Ring finger playing notes together (I'll designate the "pinch using a slash, e.g. P/A). The pattern - P/A-M-I, played on different strings. P(String 5) and at the same time, A(String 1), then - M(String 2) -I(String 3). Note that in the second iteration of the pattern, the thumb (P) moves to the 4th string (alternating thumb).

Figure 8 - Caida Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Caida - https://youtu.be/4QEuR0tlaLg)

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Practice - Try playing Intento and Caida in alternate measures. Then move through different chords while alternating between the two patterns.

DOBLAR  

This is very similar to Caida, but only uses two fingers. This is another a very quick pattern with a hard rhythmic sense. This pattern uses two fingers and a "pinch" with Thumb and Middle finger playing notes together (I'll designate the "pinch using a slash, e.g. P/M). The pattern - P/M-I-M, played on different strings. P(String 5) and at the same time, M(String 1), then - I(String 2) -M(String 1). Note that in the second iteration of the pattern, the thumb (P) moves to the 4th string (alternating thumb).

Figure 9 - Doblar Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Doblar - https://youtu.be/243kdSLbjuk).

PAMPA This name is selected from Santaolalla's composition called, "Pampa," where this pattern is used in a strong and rhythmic way. This pattern uses two fingers and a "pinch" with Thumb and Middle finger playing notes together (I'll designate the "pinch using a slash, e.g. P/M). This "pinch" is repeated frequently in this pattern. The pattern - P/M-I-P/M, played on different strings. P(String 5) and at the same time, M(String 1), then - I(String 2), then the Pinch again, P(String 5 and at the same time, M(String 1). Note that in the second iteration of the pattern, the thumb (P) moves to the 4th string (alternating thumb).

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Figure 10 - Pampa Notation & Tablature Learn to play the pattern, then try playing it while moving through different chords on the ronroco. (An audio example of this is available on YouTube – Pampa - https://youtu.be/KkW1rxOgz7A) Practice - Try playing Doblar twice, then Pampa twice, repeating this over and over. Then try playing Intento, Caida, Doblar, and Pampa together in a variety of integrations. They are all in 6/8, so should fit together in interesting configurations. Then move through different chords while alternating between the all the patterns.

REFERENCES  

Encuentro en el Estudio (2012). Gustavo Santaolalla De Ushuaia a la Quiaca. Retreived, Dec. 29 from https://www.youtube.com/watch?v=W9iQ0pcSVIM