MG has it right all the way here. I was going to write something similarly elaborate, but its already been done better ... but here is the gist. Years ago when I was studying orchestration the standard thing was that an oboe is hard to play quietly in the top octave, it tending to come out shrill. Not that much later in the scheme of things I was sorting on the score layout for a composer who used the same software as me and didn't have the time, it was a big orchestral piece to be played by City of Birmingham Symphony Orchestra in the Netherlands ... and lots of the oboe writing seemed impossibly high and out of character. When I heard the recording, it all worked beautifully - because the oboist was easily good enough to overcome the instrument's natural tendencies. So writing like that for the CBSO was fine; trying it with your local amateur orchestra would be a bad idea.
Not disagreeing with you, I'm just curious about your definition and just have a question for clarification.Stephen Kenyon wrote: ↑Thu Aug 10, 2017 5:12 pmWell it is of course all opinion, and we can all remember to respect others' opinions, and when ours are contradicted, not just keep re-stating our own.
I would point out though that since tremolo is a guitar technique, and it is used in several well known and important repertoire items (not just Recuerdos!) really by definition, a complete technique has to incorporate tremolo - or not be complete. I certainly do not regard my technique as complete, because my tremolo is well below par and while in the past I have performed Regondi Nocturne Reverie and of course Recuerdos, and all three of my efforts in the genre, I would not normally do so now, and feel that is a restriction and impairment of my capability ... an incompletion, so to speak.
I would think it is probably simply because the tremolo technique has been around for well over a century, is regularly used in concerts and recordings, and all round has a place in the tradition of the instrument. More recently developed (or rather, borrowed from other styles?) things such as percussion or two-hand tapping have yet to become established in the same way, but certainly, if at some point enough pieces using such techniques were played and recorded by enough players, they would end up being by default accepted as normal techniques in the way tremolo is.
AndreiKrylov wrote: ↑Mon Aug 14, 2017 9:10 pmtremolo is very important. I played and recorded it a lot, actually used it in 1000 or more of my pieces, but lately my right hand got some health problems and my tremolo becoming less satisfactory for me. Yes - tremolo is a great technique but as every technique it is easy to achieve for young and healthy hands, but with the age ... it is more difficult to achieve and maintain.
Therefore everything what is important - is important at a proper time and condition, but when this time is gone - it could be irrelevant
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