Stephen Kenyon wrote: ↑
Thu Aug 10, 2017 5:12 pm
Rognvald wrote: ↑
Thu Aug 10, 2017 3:45 pm
... However, based on my experience, tremolo is considered by many to be a necessary tool for a "complete" classical guitarist. I don't agree.
Well 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.
Not disagreeing with you, I'm just curious about your definition and just have a question for clarification.
Are you saying that a complete technique would need to include tremolo because there are tremolo pieces in the accepted/standard repertoire? And therefore, if there were no pieces 'accepted' into the repertoire then it wouldn't need to be considered in this way?
I'm just wondering because I too want to be able to play tremolo but I always wanted to be able to do 'tapping' (hammer ons using the left and right hand as I'm sure you know) and to be able to do rasgueado strumming reasonably well too.
But 'tapping' is not something I know of in the repertoire so does that mean one can have a complete 'Classical guitar' technique and not be able to do it? Same could be said of the full gamut of flamenco techniques and maybe other techniques that have cropped up over the years like folk/new-age style percussive techniques a-la Micheal Hedges etc.
Dyens and Gary Ryan are a couple who come to mind who have introduced some of these things so one could argue that they are needed for the repertoire (unless their pieces aren't considered essential but merely curiosities...)
To be honest, I don't think it really matters even though I'm curious about your definition because I think it all comes down to what our goals are as musicians i.e. What do we want to be able to play? Do we want to 'pass' exams? Do we want to prove to ourselves that we can do x, y and z technique to feel a sense of accomplishment, regardless of what we want to play etc.
Plus I guess one could go on forever with all sorts of esoteric techniques but as some have said, one can be an accomplished (classical) guitarist and not be able to do tremolo (whether complete or not!)