Well its copyright 1895 so that's right when Tarrega was with the Recuerdos approach to tremolo, so I suspect this was a technique particular to this writer and his circle and perhaps, location. It isn't written out as a timed number of notes, rather as the abbreviated form, so its not entirely clear whether he was aiming for a specific number of notes per beat, however we want to to call them! Certainly it makes sense that his mandolin involvement might have influenced him, and I wonder whether a mandolinist at this time would have used the same terminology, and whether they would have expected to rhythmicise the trem ... or just do it as fast as possible.franks59 wrote: ↑Thu Jun 15, 2017 7:10 pmI read this section and yes, he's not talking pami. He's talking about using the finger as a pick and generating tremolo by hitting the string back and forth as you would with a pick, or as you would on a mandolin.
I notice that he also produced an instruction book for mandolin so I'm betting that's where he got it from. But who knows, maybe in those days, that's how tremolo was done on guitar.
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