Chords for The "Gipsy Kings Ending" and Other Guitar Tricks | Tutorial w/ TAB
Tempo:
84.3 bpm
Chords used:
Em
B
G
Ab
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] [Ab] In this video I want to show you two things that Gypsy Kings do to make their music more
compelling, especially when they play live.
This lesson assumes that you already know how to play the Gypsy Kings Roomba.
If you don't, check out my How to Play Like the Gypsy Kings video.
Here we're going to look at one thing you can do when you're playing [A] one of those Gypsy
Kings Roombas to make things more dramatic as you go into another section.
So if we look at a song like [Em] Bombaleo, which is [E] E minor to A minor to B7, we would [Em] have this.
Playing the [Am] Roomba.
[B] [Em] And we resolve to E minor.
[B] Well if we want to build up to a new section, especially if that new section is going to
be the same chord as what we're doing here, we can create this dramatic build up by playing
the triplet rasqueo on the 5 chord.
So this B7 [Em] wants to go to E minor.
[B] So if we hold that one, that already has some drama in it because it has this tension it
wants to resolve.
But we're going to use what we call the triplet rasqueo.
They do this all the time in so many of their songs.
We're going to go up with the thumb, down with the middle, down with the thumb.
And that's going to equal one beat when we do that.
We're going to go.
So [Ab] how do we do this?
Like where rhythmically does it happen?
It's almost always going to happen on the two.
So don't do anything on the one.
This starts on the two all the way through two measures.
And it's going to end on the first beat on the one.
So it's going to look like this.
One, [D] two, three, four.
One, two, three, [B] four, one.
Now other sequences can happen like this that are shorter.
But I'm just thinking of Bombaleo specifically.
It really creates more of dramatic tension the longer you do it.
Okay.
So we're going one, two, three, four.
One, two, three, four, one.
Now you could start on the [Ab] one instead of leaving that spot [C] blank.
But that also [B] creates drama, a little bit of a gap there.
Okay.
So we have one, two, three, four.
One, two, three, four, one.
And we're going to kill it right there with what we call apagado.
We're killing the strings that [Cm] way.
It also creates a gap and it creates this expectation of whatever comes next.
So now when [Em] we go into the [E] chorus of Bombaleo, it was just the same chords we were playing already.
But now it sounds more appropriately that that's happening. Okay.
So [B] we're going one, two, three, four.
One, two, three, four, one.
Two, three, [Em] four.
And then you [Am] [B] [Em]
don't want to overuse this, but you [Ab] can do it on so many conclusions.
Just don't do it every time or it'll be like, what's wrong with that guy?
He's had too much [B] coffee.
One, two, three, four.
One, two, three, four, one.
If it were shorter, we would just go one, two, three, four, one.
And [G] you can throw that in anywhere also.
Let's see what this would sound like if we were in a major key.
Let's play G and then we got a [D] D7 right here.
So we're just going to [G] play rumba.
[D] [G]
[D] And nice big [G] gap.
[A] Okay.
That's something that the Gypsy Kings do consistently in their music.
And it's a really cool thing that you can add to your own playing.
Now let's look at how the Gypsy Kings end their songs almost all the time when they play live.
Instead of like a lot of their recordings might just fade out, you can't fade out when
you're [Em] playing live, they do this ending.
[Am] [B] [Em]
And that is like a characteristic Gypsy Kings ending.
And so many rumba players do that.
And this is what's happening.
We're playing stroke and try to kill it.
There's a lot of muting going on.
And that also creates that drama.
If you did this, that still works, but muting it really creates more attitude you could say.
So what we're doing in this case, if you had a bar chord, it might be [G] easier because you
can just [Ab] relax and get that [G] automatic silence by just not squeezing anymore.
[Em] But if we're on an E minor chord, which is so common of a chord, we want to be able to
take your pinky and just touch all the strings, lighten up the pressure here so that we don't
have any sound at all.
So I'm going, that would be something worth working on, I think.
Okay.
So we're going. Down, mute.
Down, mute. Mute again.
And then we go.
[Gb] Mute it again.
So that's three in a row, but the rhythm was [Em] not even.
See, [E] that second space was [Em] longer.
So it's down, down, down, up, up.
And at the end, you [E] can mute it or let it ring out.
So if we put both of these Gypsy [Eb] Kings things [Em] together, we would have this.
[Am] [B] [Em]
[E] So see if you can put a couple of these elements into your own playing.
And if you don't know how to play that Gypsy Kings rumba, you gotta watch this video.
[N]
compelling, especially when they play live.
This lesson assumes that you already know how to play the Gypsy Kings Roomba.
If you don't, check out my How to Play Like the Gypsy Kings video.
Here we're going to look at one thing you can do when you're playing [A] one of those Gypsy
Kings Roombas to make things more dramatic as you go into another section.
So if we look at a song like [Em] Bombaleo, which is [E] E minor to A minor to B7, we would [Em] have this.
Playing the [Am] Roomba.
[B] [Em] And we resolve to E minor.
[B] Well if we want to build up to a new section, especially if that new section is going to
be the same chord as what we're doing here, we can create this dramatic build up by playing
the triplet rasqueo on the 5 chord.
So this B7 [Em] wants to go to E minor.
[B] So if we hold that one, that already has some drama in it because it has this tension it
wants to resolve.
But we're going to use what we call the triplet rasqueo.
They do this all the time in so many of their songs.
We're going to go up with the thumb, down with the middle, down with the thumb.
And that's going to equal one beat when we do that.
We're going to go.
So [Ab] how do we do this?
Like where rhythmically does it happen?
It's almost always going to happen on the two.
So don't do anything on the one.
This starts on the two all the way through two measures.
And it's going to end on the first beat on the one.
So it's going to look like this.
One, [D] two, three, four.
One, two, three, [B] four, one.
Now other sequences can happen like this that are shorter.
But I'm just thinking of Bombaleo specifically.
It really creates more of dramatic tension the longer you do it.
Okay.
So we're going one, two, three, four.
One, two, three, four, one.
Now you could start on the [Ab] one instead of leaving that spot [C] blank.
But that also [B] creates drama, a little bit of a gap there.
Okay.
So we have one, two, three, four.
One, two, three, four, one.
And we're going to kill it right there with what we call apagado.
We're killing the strings that [Cm] way.
It also creates a gap and it creates this expectation of whatever comes next.
So now when [Em] we go into the [E] chorus of Bombaleo, it was just the same chords we were playing already.
But now it sounds more appropriately that that's happening. Okay.
So [B] we're going one, two, three, four.
One, two, three, four, one.
Two, three, [Em] four.
And then you [Am] [B] [Em]
don't want to overuse this, but you [Ab] can do it on so many conclusions.
Just don't do it every time or it'll be like, what's wrong with that guy?
He's had too much [B] coffee.
One, two, three, four.
One, two, three, four, one.
If it were shorter, we would just go one, two, three, four, one.
And [G] you can throw that in anywhere also.
Let's see what this would sound like if we were in a major key.
Let's play G and then we got a [D] D7 right here.
So we're just going to [G] play rumba.
[D] [G]
[D] And nice big [G] gap.
[A] Okay.
That's something that the Gypsy Kings do consistently in their music.
And it's a really cool thing that you can add to your own playing.
Now let's look at how the Gypsy Kings end their songs almost all the time when they play live.
Instead of like a lot of their recordings might just fade out, you can't fade out when
you're [Em] playing live, they do this ending.
[Am] [B] [Em]
And that is like a characteristic Gypsy Kings ending.
And so many rumba players do that.
And this is what's happening.
We're playing stroke and try to kill it.
There's a lot of muting going on.
And that also creates that drama.
If you did this, that still works, but muting it really creates more attitude you could say.
So what we're doing in this case, if you had a bar chord, it might be [G] easier because you
can just [Ab] relax and get that [G] automatic silence by just not squeezing anymore.
[Em] But if we're on an E minor chord, which is so common of a chord, we want to be able to
take your pinky and just touch all the strings, lighten up the pressure here so that we don't
have any sound at all.
So I'm going, that would be something worth working on, I think.
Okay.
So we're going. Down, mute.
Down, mute. Mute again.
And then we go.
[Gb] Mute it again.
So that's three in a row, but the rhythm was [Em] not even.
See, [E] that second space was [Em] longer.
So it's down, down, down, up, up.
And at the end, you [E] can mute it or let it ring out.
So if we put both of these Gypsy [Eb] Kings things [Em] together, we would have this.
[Am] [B] [Em]
[E] So see if you can put a couple of these elements into your own playing.
And if you don't know how to play that Gypsy Kings rumba, you gotta watch this video.
[N]
Key:
Em
B
G
Ab
E
Em
B
G
_ _ _ _ [Em] _ _ [Ab] In this video I want to show you two things that Gypsy Kings do to make their music more
compelling, especially when they play live.
This lesson assumes that you already know how to play the Gypsy Kings Roomba.
If you don't, check out my How to Play Like the Gypsy Kings video.
Here we're going to look at one thing you can do when you're playing [A] one of those Gypsy
Kings Roombas to make things more dramatic as you go into another section.
So if we look at a song like [Em] Bombaleo, which is [E] E minor to A minor to B7, we would [Em] have this.
Playing the [Am] Roomba.
[B] _ _ [Em] And we resolve to E minor.
[B] Well if we want to build up to a new section, especially if that new section is going to
be the same chord as what we're doing here, we can create this dramatic build up by playing
the triplet rasqueo on the 5 chord.
So this B7 [Em] wants to go to E minor.
[B] So if we hold that one, that already has some drama in it because it has this tension it
wants to resolve.
But we're going to use what we call the triplet rasqueo.
They do this all the time in so many of their songs.
We're going to go up with the thumb, down with the middle, down with the thumb.
And that's going to equal one beat when we do that.
We're going to go.
_ _ _ So [Ab] how do we do this?
Like where rhythmically does it happen?
It's almost always going to happen on the two.
So don't do anything on the one.
This starts on the two all the way through two measures.
And it's going to end on the first beat on the one.
So it's going to look like this.
One, [D] two, three, four.
One, two, three, [B] four, one.
Now other sequences can happen like this that are shorter.
But I'm just thinking of Bombaleo specifically.
It really creates more of dramatic tension the longer you do it.
Okay.
So we're going one, two, three, four.
One, two, three, four, one.
Now you could start on the [Ab] one instead of leaving that spot [C] blank.
But that also [B] creates drama, a little bit of a gap there.
Okay.
So we have one, two, three, four.
One, two, three, four, one.
And we're going to kill it right there with what we call apagado.
We're killing the strings that [Cm] way.
It also creates a gap and it creates this expectation of whatever comes next.
So now when [Em] we go into the [E] chorus of Bombaleo, it was just the same chords we were playing already.
But now it sounds more appropriately that that's happening. Okay.
So [B] we're going one, two, three, four.
One, two, three, four, one.
Two, three, [Em] four.
And then you _ [Am] _ _ [B] _ _ _ [Em] _ _
don't want to overuse this, but you [Ab] can do it on so many conclusions.
Just don't do it every time or it'll be like, what's wrong with that guy?
He's had too much [B] coffee.
One, two, three, four.
One, two, three, four, one.
If it were shorter, we would just go one, two, three, four, one.
And [G] you can throw that in anywhere also.
Let's see what this would sound like if we were in a major key.
Let's play G and then we got a [D] D7 right here.
So we're just going to [G] play rumba. _
_ [D] _ _ _ [G] _ _ _ _
[D] _ _ _ _ And nice big [G] gap. _
[A] Okay.
That's something that the Gypsy Kings do consistently in their music.
And it's a really cool thing that you can add to your own playing.
Now let's look at how the Gypsy Kings end their songs almost all the time when they play live.
Instead of like a lot of their recordings might just fade out, you can't fade out when
you're [Em] playing live, they do this ending. _
_ [Am] _ _ _ [B] _ _ _ [Em] _
_ And that is like a characteristic Gypsy Kings ending.
And so many rumba players do that.
And this is what's happening.
We're playing stroke and try to kill it.
There's a lot of muting going on.
And that also creates that drama.
If you did this, _ that still works, but muting it really creates more attitude you could say.
So what we're doing in this case, if you had a bar chord, it might be [G] easier because you
can just [Ab] relax and get that [G] automatic silence by just not squeezing anymore.
[Em] But if we're on an E minor chord, which is so common of a chord, we want to be able to
take your pinky and just touch all the strings, lighten up the pressure here so that we don't
have any sound at all.
So I'm going, that would be something worth working on, I think.
Okay.
So we're going. Down, mute.
Down, mute. Mute again.
And then we go.
[Gb] Mute it again.
So that's three in a row, but the rhythm was [Em] not even.
See, _ [E] that second space was [Em] longer.
So it's down, down, down, up, up.
And at the end, you [E] can mute it or let it ring out.
So if we put both of these Gypsy [Eb] Kings things [Em] together, we would have this. _ _
[Am] _ _ _ [B] _ _ _ _ [Em] _
_ _ _ [E] So see if you can put a couple of these elements into your own playing.
And if you don't know how to play that Gypsy Kings rumba, you gotta watch this video.
_ _ [N] _
compelling, especially when they play live.
This lesson assumes that you already know how to play the Gypsy Kings Roomba.
If you don't, check out my How to Play Like the Gypsy Kings video.
Here we're going to look at one thing you can do when you're playing [A] one of those Gypsy
Kings Roombas to make things more dramatic as you go into another section.
So if we look at a song like [Em] Bombaleo, which is [E] E minor to A minor to B7, we would [Em] have this.
Playing the [Am] Roomba.
[B] _ _ [Em] And we resolve to E minor.
[B] Well if we want to build up to a new section, especially if that new section is going to
be the same chord as what we're doing here, we can create this dramatic build up by playing
the triplet rasqueo on the 5 chord.
So this B7 [Em] wants to go to E minor.
[B] So if we hold that one, that already has some drama in it because it has this tension it
wants to resolve.
But we're going to use what we call the triplet rasqueo.
They do this all the time in so many of their songs.
We're going to go up with the thumb, down with the middle, down with the thumb.
And that's going to equal one beat when we do that.
We're going to go.
_ _ _ So [Ab] how do we do this?
Like where rhythmically does it happen?
It's almost always going to happen on the two.
So don't do anything on the one.
This starts on the two all the way through two measures.
And it's going to end on the first beat on the one.
So it's going to look like this.
One, [D] two, three, four.
One, two, three, [B] four, one.
Now other sequences can happen like this that are shorter.
But I'm just thinking of Bombaleo specifically.
It really creates more of dramatic tension the longer you do it.
Okay.
So we're going one, two, three, four.
One, two, three, four, one.
Now you could start on the [Ab] one instead of leaving that spot [C] blank.
But that also [B] creates drama, a little bit of a gap there.
Okay.
So we have one, two, three, four.
One, two, three, four, one.
And we're going to kill it right there with what we call apagado.
We're killing the strings that [Cm] way.
It also creates a gap and it creates this expectation of whatever comes next.
So now when [Em] we go into the [E] chorus of Bombaleo, it was just the same chords we were playing already.
But now it sounds more appropriately that that's happening. Okay.
So [B] we're going one, two, three, four.
One, two, three, four, one.
Two, three, [Em] four.
And then you _ [Am] _ _ [B] _ _ _ [Em] _ _
don't want to overuse this, but you [Ab] can do it on so many conclusions.
Just don't do it every time or it'll be like, what's wrong with that guy?
He's had too much [B] coffee.
One, two, three, four.
One, two, three, four, one.
If it were shorter, we would just go one, two, three, four, one.
And [G] you can throw that in anywhere also.
Let's see what this would sound like if we were in a major key.
Let's play G and then we got a [D] D7 right here.
So we're just going to [G] play rumba. _
_ [D] _ _ _ [G] _ _ _ _
[D] _ _ _ _ And nice big [G] gap. _
[A] Okay.
That's something that the Gypsy Kings do consistently in their music.
And it's a really cool thing that you can add to your own playing.
Now let's look at how the Gypsy Kings end their songs almost all the time when they play live.
Instead of like a lot of their recordings might just fade out, you can't fade out when
you're [Em] playing live, they do this ending. _
_ [Am] _ _ _ [B] _ _ _ [Em] _
_ And that is like a characteristic Gypsy Kings ending.
And so many rumba players do that.
And this is what's happening.
We're playing stroke and try to kill it.
There's a lot of muting going on.
And that also creates that drama.
If you did this, _ that still works, but muting it really creates more attitude you could say.
So what we're doing in this case, if you had a bar chord, it might be [G] easier because you
can just [Ab] relax and get that [G] automatic silence by just not squeezing anymore.
[Em] But if we're on an E minor chord, which is so common of a chord, we want to be able to
take your pinky and just touch all the strings, lighten up the pressure here so that we don't
have any sound at all.
So I'm going, that would be something worth working on, I think.
Okay.
So we're going. Down, mute.
Down, mute. Mute again.
And then we go.
[Gb] Mute it again.
So that's three in a row, but the rhythm was [Em] not even.
See, _ [E] that second space was [Em] longer.
So it's down, down, down, up, up.
And at the end, you [E] can mute it or let it ring out.
So if we put both of these Gypsy [Eb] Kings things [Em] together, we would have this. _ _
[Am] _ _ _ [B] _ _ _ _ [Em] _
_ _ _ [E] So see if you can put a couple of these elements into your own playing.
And if you don't know how to play that Gypsy Kings rumba, you gotta watch this video.
_ _ [N] _