Every technique can be misused. Things should be evaluated based on their best use, not their misuse. For example, a light bulb makes a very poor hammer. Does that mean a light bulb is useless?Adrian Allan wrote:At one time, 20+ years ago, it used to be overly taught by teachers.
A creative player can also find use for rest stroke, provided he or she isn’t put off by misrepresentations such as yours.It doesn’t need to be used at all, as a free stroke that uses a variety of attack strengths and tone colours can be used for all music, and there is plenty enough variety there if the player is creative.
It sounds ungainly if it’s used badly. If used with good taste, it sounds just fine. I use rest stroke in Baroque and Renaissance music. In fact, I use rest stroke on the intial statement of the theme in this Anthony Holborne Fantasy:In some styles of music, rest stroke sounds ungainly - eg. most Baroque.
Are you saying that sympathetic vibrations should never be damped?It also deadens the sympathetic resonance of adjacent strings.
If done badly, it sounds bad. Again, you’re arguing against this technique based on its misuse, not its best use. This, by the way, is a common tactic of those who argue against rest stroke.I also think it sounds naff when used to “bring out” a melody line - eg. Sor B minor study. A more developed “a” finger can bring it out without the need for a clunky rest stroke every few notes - but this is how it used to be universally taught.
The free stroke can never entirely match the full range of rest stroke.As somebody recently suggested, it is useful for fast scales, especially when competing with an orchestra for volume. But even then, a strong free stroke can be used instead.
In his book, Palmer doesn’t say he never uses rest stroke. In fact, on page 24 he explicitly writes that his “follow-through does touch the string below like a rest stroke does.” And in his many videos, one can find examples of Palmer using rest stroke.To refer to another thread I posted yesterday, in his book Matt Palmer says that he never uses it, but uses a lot of variety in the angle and strength of his free strokes and he is a great player, so that is how he achieves variety.
They would IF they were playing directly on the piano strings instead of using weird hammersKevin Cowen wrote:Do piano players use the rest stroke?
Fair enough. But consider the following performance—jump ahead to the 4:18 mark:Adrian Allan wrote:I watch videos on youtube like everybody else, and I see a lot of great playing without much rest stroke.
Why would they?guitarrista wrote:They would IF they were playing directly on the piano strings instead of using weird hammersKevin Cowen wrote:Do piano players use the rest stroke?
Hmm, I obviously made a joke, and put a smilie on it just to make sure. Not sure about that elephant, but be careful as ivory trade is bannedKevin Cowen wrote:Why would they?guitarrista wrote:They would IF they were playing directly on the piano strings instead of using weird hammersKevin Cowen wrote:Do piano players use the rest stroke?
I guess it all boils down to what you believe the purpose of being a musician is.
We seem to have an elephant in the room here.
As you say, it’s a matter of taste. Regarding the sound beginning at the 4:18 mark of the Segovia video I posted, I don’t see how anyone could find it objectionable. But then, I’ve noticed that some guitarists—not talking about you here—seem almost embarrassed by a beautiful sound. That’s something I just don’t understand.Adrian Allan wrote:His heavy accent with lots of vibrato on certain notes seem to be a signature style.
I will give it another go.
I suppose at least his playing has a lot more character than many young players, and that is what is missing.
At one time everybody wanted to emulate segovia, and that partly explains the decline of the rest stroke.
It still has its use, for sure....all a matter of taste. I was merely saying that at one time it seemed over done, and it probably fared worst in the hands of amateurs.
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