8 fingerstyle patterns for ronroco

8 FINGERSTYLE PATTERNS FOR
RONROCO
EXPLORATIONS OF TECHNIQUE
Don Bergland
Supported by Audio Files on YouTube
1 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 2 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 reentrant 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
3 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
4 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).
5 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)
6 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 - IP-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
7 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)
8 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).
9 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
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