. . . "1650065"^^ . . . . . . . . . . "In music, strumming is a way of playing a stringed instrument such as a guitar, ukulele, or mandolin. A strum or stroke is a sweeping action where a finger or plectrum brushes over several strings to generate sound. On most stringed instruments, strums are typically executed by a musician's designated strum hand (typically the musician's dominant hand, which is often responsible for generating the majority of sound on a stringed instrument), while the remaining hand (referred to as the fret hand on most instruments with a fingerboard) often supports the strum hand by altering the tones and pitches of any given strum."@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\uC74C\uC545\uC5D0\uC11C \uC2A4\uD2B8\uB7EC\uBC0D(Strumming)\uC740 \uAE30\uD0C0, \uC6B0\uCFE8\uB810\uB808 \uB610\uB294 \uB9CC\uB3CC\uB9B0\uACFC \uAC19\uC740 \uD604\uC545\uAE30\uB97C \uC5F0\uC8FC\uD558\uB294 \uBC29\uBC95\uC774\uB2E4. \uC2A4\uD2B8\uB7FC \uB610\uB294 \uC2A4\uD2B8\uB85C\uD06C\uB294 \uC190\uAC00\uB77D\uC774\uB098 \uD53C\uD06C\uB85C \uC5EC\uB7EC \uC904\uC744 \uC4F8\uC5B4 \uB118\uACA8 \uC18C\uB9AC\uB97C \uB0B4\uB294 \uB3D9\uC791\uC774\uB2E4. \uD604\uC545\uAE30 \uC5F0\uC8FC \uC2DC \uC2A4\uD2B8\uB7FC \uC8FC\uBC95\uC740 \uC2A4\uD2B8\uB7FC \uD578\uB4DC(\uC624\uB978\uC190\uCC98\uB7FC \uC8FC\uB85C \uC0AC\uC6A9\uD558\uB294 \uC190)\uAC00 \uB2F4\uB2F9\uD558\uACE0, \uB098\uBA38\uC9C0 \uC190\uC740 (\uC9C0\uD310\uC774 \uC788\uB294 \uC545\uAE30\uC5D0\uC11C\uB294 \uC774\uB97C \uD504\uB81B \uD578\uB4DC\uB77C\uACE0 \uD55C\uB2E4) \uCF54\uB4DC\uC640 \uC74C\uC744 \uBCC0\uACBD\uD558\uC5EC \uC2A4\uD2B8\uB7FC \uD578\uB4DC\uB97C \uC9C0\uC9C0\uD55C\uB2E4."@ko . . . . . . . "Le battement est une technique de jeu propre aux instruments \u00E0 cordes pinc\u00E9es, tels la guitare. Dans le battement, toutes les cordes sont frott\u00E9es rapidement, pour donner l'illusion sonore d'un accord, c'est-\u00E0-dire de notes jou\u00E9es simultan\u00E9ment selon un sch\u00E9ma musical pr\u00E9cis. Le battement peut \u00EAtre descendant (de la grosse corde vers la chanterelle, ie. des graves aux aigus), remontant, altern\u00E9... C'est la technique la plus simple et la plus utilis\u00E9e en guitare d'accompagnement acoustique, car elle maximise le volume sonore et permet de donner un tempo \u00E0 la phrase musicale. Le battement peut se faire avec le pouce seul ou avec le pouce et les doigts (dans le battement altern\u00E9), ou encore avec un m\u00E9diator. Les riffs rapides sont bien souvent des rythmiques jou\u00E9es par battements. \n* Portail de la musique"@fr . . . . . . "Le battement est une technique de jeu propre aux instruments \u00E0 cordes pinc\u00E9es, tels la guitare. Dans le battement, toutes les cordes sont frott\u00E9es rapidement, pour donner l'illusion sonore d'un accord, c'est-\u00E0-dire de notes jou\u00E9es simultan\u00E9ment selon un sch\u00E9ma musical pr\u00E9cis. Le battement peut \u00EAtre descendant (de la grosse corde vers la chanterelle, ie. des graves aux aigus), remontant, altern\u00E9... C'est la technique la plus simple et la plus utilis\u00E9e en guitare d'accompagnement acoustique, car elle maximise le volume sonore et permet de donner un tempo \u00E0 la phrase musicale. Le battement peut se faire avec le pouce seul ou avec le pouce et les doigts (dans le battement altern\u00E9), ou encore avec un m\u00E9diator. Les riffs rapides sont bien souvent des rythmiques jou\u00E9es par battements."@fr . . . "El rasgueo es un concepto com\u00FAnmente asociado a la guitarra y consiste b\u00E1sicamente en el acto mediante el cual se provoca la vibraci\u00F3n de dos o m\u00E1s cuerdas simult\u00E1neamente con los dedos a la vez que se realiza una postura en el diapas\u00F3n o m\u00E1stil del instrumento con la finalidad de interpretar un acorde.El rasgueo t\u00EDpico es el que sigue la secuencia de la 5a cuerda a la prima en orden me\u00F1ique, anular, medio e \u00EDndice. El maestro Sabicas populariz\u00F3 el llamado \u201Crasgueo de 3\u201D cuya secuencia es pulgar hacia arriba (de prima a 5a o 6a)y me\u00F1ique-o anular-e \u00EDndice hacia abajo (de 5a a prima)con un leve movimiento circular de mu\u00F1eca."@es . . . . "Traditional notation"@en . . . . "Arrow notation"@en . . . . . . . . . . . . . . . . . . . . . "6841"^^ . . . . . . . . . . . . "left"@en . . . . . . . "Strumming arrow notation.png"@en . . . . . . "Rasgueo"@es . "Strum"@en . . . . . . . . . "In music, strumming is a way of playing a stringed instrument such as a guitar, ukulele, or mandolin. A strum or stroke is a sweeping action where a finger or plectrum brushes over several strings to generate sound. On most stringed instruments, strums are typically executed by a musician's designated strum hand (typically the musician's dominant hand, which is often responsible for generating the majority of sound on a stringed instrument), while the remaining hand (referred to as the fret hand on most instruments with a fingerboard) often supports the strum hand by altering the tones and pitches of any given strum. Strums are often contrasted with plucking, as a means of vibrating an instrument's strings. In plucking, a specific string or designated set of strings are individually targeted to vibrate, whereas in strumming, a less precise targeting is usually used. Compared to other plucking techniques, any group of strings brushed in a single sweep by a plectrum could be considered a strum due to the plectrum's less precise string group targeting (however, a plectrum might simultaneously pluck a small group of strings without being considered a strum). In contrast, a musician could utilize a technique with more precise string group targeting (such as a fingerstyle or fingerpick technique) to pluck all the strings on a stringed instrument at once and this would still be considered a pluck, not a strum."@en . "There are a variety of methods for writing strum notation."@en . . . . . . . . . . "Strumming du notation.png"@en . . . . . . . . . . . . . "Battement (instruments \u00E0 cordes pinc\u00E9es)"@fr . "1118992080"^^ . . "\uC74C\uC545\uC5D0\uC11C \uC2A4\uD2B8\uB7EC\uBC0D(Strumming)\uC740 \uAE30\uD0C0, \uC6B0\uCFE8\uB810\uB808 \uB610\uB294 \uB9CC\uB3CC\uB9B0\uACFC \uAC19\uC740 \uD604\uC545\uAE30\uB97C \uC5F0\uC8FC\uD558\uB294 \uBC29\uBC95\uC774\uB2E4. \uC2A4\uD2B8\uB7FC \uB610\uB294 \uC2A4\uD2B8\uB85C\uD06C\uB294 \uC190\uAC00\uB77D\uC774\uB098 \uD53C\uD06C\uB85C \uC5EC\uB7EC \uC904\uC744 \uC4F8\uC5B4 \uB118\uACA8 \uC18C\uB9AC\uB97C \uB0B4\uB294 \uB3D9\uC791\uC774\uB2E4. \uD604\uC545\uAE30 \uC5F0\uC8FC \uC2DC \uC2A4\uD2B8\uB7FC \uC8FC\uBC95\uC740 \uC2A4\uD2B8\uB7FC \uD578\uB4DC(\uC624\uB978\uC190\uCC98\uB7FC \uC8FC\uB85C \uC0AC\uC6A9\uD558\uB294 \uC190)\uAC00 \uB2F4\uB2F9\uD558\uACE0, \uB098\uBA38\uC9C0 \uC190\uC740 (\uC9C0\uD310\uC774 \uC788\uB294 \uC545\uAE30\uC5D0\uC11C\uB294 \uC774\uB97C \uD504\uB81B \uD578\uB4DC\uB77C\uACE0 \uD55C\uB2E4) \uCF54\uB4DC\uC640 \uC74C\uC744 \uBCC0\uACBD\uD558\uC5EC \uC2A4\uD2B8\uB7FC \uD578\uB4DC\uB97C \uC9C0\uC9C0\uD55C\uB2E4."@ko . . . . . "\uC2A4\uD2B8\uB7EC\uBC0D"@ko . . . . "vertical"@en . . . . . . "300"^^ . . . . . "Letter notation"@en . . "Strumming classic notation.png"@en . . . . . . . . . "El rasgueo es un concepto com\u00FAnmente asociado a la guitarra y consiste b\u00E1sicamente en el acto mediante el cual se provoca la vibraci\u00F3n de dos o m\u00E1s cuerdas simult\u00E1neamente con los dedos a la vez que se realiza una postura en el diapas\u00F3n o m\u00E1stil del instrumento con la finalidad de interpretar un acorde.El rasgueo t\u00EDpico es el que sigue la secuencia de la 5a cuerda a la prima en orden me\u00F1ique, anular, medio e \u00EDndice. El maestro Sabicas populariz\u00F3 el llamado \u201Crasgueo de 3\u201D cuya secuencia es pulgar hacia arriba (de prima a 5a o 6a)y me\u00F1ique-o anular-e \u00EDndice hacia abajo (de 5a a prima)con un leve movimiento circular de mu\u00F1eca. El rasgueo tiene su origen en la m\u00FAsica popular o folcl\u00F3rica y a pesar de que sus inicios son casi tan antiguos como la guitarra misma, el desarrollo de nuevas t\u00E9cnicas se ha llevado a cabo incluso en nuestra \u00E9poca."@es . . . . .