THE MARIACHI SLAP

as explained by Joe Bethancourt

Bud and Travis were noted for a very unusual style of guitar rhythm playing that involved slapping the top of the guitar in an intricate and very syncopated rhythm. I call this the "Mariachi Slap," as it was apparently developed by the Mariachis of Southern Arizona / Northern Mexico.

This count is a syncopated 4/4 time. The CAPS denote the primary ("on") beat, the lower case "and" denotes the off beat. The comments in (parens) denote the added percussive effects done on the edge of the soundhole. These are optional.

This works the best on nylon-string acoustic guitars, or on twelve-strings. Steel strung six string acoustics will tend to tear up your hand, tho you can do it.

I hope that this explains it reasonably well. If you run into me somewhere, I will be happy to demonstrate it for you.

• ONE : strum down across the strings with the index finger (striking the lower edge of the soundhole with the backs of the fingernails). This beat should be emphasized a bit stronger than the others.
  
  
• TWO : slap the top of the guitar at the upper bout
  
  
• -and: the index finger brushes up with the pad (not the tip) over all the strings
  
  
• THREE: the index finger strums down with the tip (not the pad) over all the strings
  
  
• -and: the wrist will rotate to the outside, and the thumb brushes up over all the strings (striking the upper edge of the soundhole with the back of the thumb)
  
  
• FOUR: slap the top of the guitar at the lower bout by the bridge
  
  
• -and: strum up across the strings with the index finger

Note that beats ONE and FOUR are emphasised.

If you have a second guitar also playing, it can do the companion strum pattern like this:

• ONE: strum up across the strings with the pad of your index finger
  
  
• -and-a: slap the top of the guitar, let your fingers rebound and slap again
  
  
• repeat

This one is actually quite easy, and mixes very well with the primary slap. The effect of two guitars doing this is incredible.

This slap works well with polyrhythmic styles like Calypso. See Bud and Travis' recording of "Sloop John B."

The Bud And Travis Home Page also has an explanation of this, and other percussive playing styles, with soundfile illustrations, tho their explanation of the slap described above leaves out the final upstroke (tho it can be clearly heard in the soundfile).

And here is an excellent example of it in action:

Joe Bethancourt is perhaps Phoenix's finest eclectic acoustic musician, playing a variety of music from folk to country, linking the past, the present and the future. Though he is now internationally known, he chooses to make his home in Phoenix, and does many of his live performances there.

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