"The only way to ever be quick enough to allow the string to vibrate freely after release is to first push or pull the string inwards or outward at a sharp/obtuse angle compared to the top of the guitar so there will be a build up of sideway pressure into your finger either towards your head or towards your feet, giving you the actual space you need to pluck the string out and upwards and away from the top of the guitar"
It's all here
guit-box or anyone else, try and refute this by whatever close-up or slomo you want to use...I dare you.
It's all here...plucking from the PIP, the 'hooking' as you call it, the extending while planting, the release in opposite direction of the MCP at higher speeds (it has to!)
One HAS to do these things..it's not like you have a choice or anything. Being aware of it is a completely other thing.
So is understanding WHY you have to do these things, which is by far the most important tool anyone can have in learning anything.
It seems to me if we understand why...the mystery is solved
I understand why....it's all in the sentence.
Like I said...prove me wrong, I dare you
You say...ok, this is what i see and it's not in correspondance with what they say. You are correct
I do you one better and say..this is WHY you see this type of movement. A lack of understanding (the physics) and awareness is why they say different then they do. Not a crime by any means and very understandable, but...ready for improvement non the less.
If you really want to simplify how to look at the right hand free stroke movement and you have a solid left hand technique, then think of it as a pull-off or a hammer-on followed by an immediate pull-off. When I was developing my left hand technique, I remember practicing over-extending my MCP to get some height above the string to make a solid hammer. It's often advantageous to practice an exaggerated movement to develop the strength and coordination required to do the more minimal movement. The speed to the string from the MCP is important but to make the pull-off solid, you have to do a full and strong flexion from the middle and tip joints toward the next string. If you align all your left hand fingers on the first string in a tightly curved position and do a solid pull-off so that the finger flesh drives through the string and the finger tip arrives at touching the palm side of the MCP joint, that's the correct movement for a pull-off and it's basically the same thing that's required to get a solid and powerful free stroke. The MCP will automatically want to extend if you to a full PIP/DIP flexion.
It doesn't seem reasonable to teach play-relax for each stroke but then not do it for arpeggios. See 4:00min. This is just confirmation that it's not about relaxing the finger back after each stroke as much as it is about coordinating movements. I see that he's mostly trying to do movements from the main knuckle joint, and he even demonstrates a big MCP follow through at times, but I don't think it's what he's doing when he's not demonstrating. Also, the articulation and control is lacking imo, there are many great players who do this better who are using opposing joint movements.
So good. Favio Z's technique is all about reaching out for the note and pulling it back. The very natural movement of extending the PIP out to the string and then flexing the PIP/TIP to pull the string back.
like most players with really long fingernails, Yamashita shows more of the opposite direction of the finger joints. Lots of PIP flexion and MCP extension. Not my favorite sound, but the movements are what's worth observing.
An eyewitness will often only see what he already believes to be true.
Many guitarists consider Russell the gold standard for good tone and projection. Many of those same guitarists think you should pluck with the main thrust coming from the large knuckle joint. (MCP). Here is Russell clearly reaching out for the string with the index finger and plucking the note by flexing the middle joint (PIP)
When a guitarist has long nails, their technique isn't necessarily different, but the string tends to be in contact with the nail for longer and you can really observe what is going on with the joints as the string slides from one side of the nail to the other and exits the finger. Here we can clearly see how the joint movement for free strokes and rest strokes is the same, the only difference is that the PIP follow through is interrupted by the resting string. Guitarists tell themselves all kinds of illogical things, one of those things is that free strokes are more middle joint (PIP) and rest strokes are more large knuckle joint (MCP), but it's not true, it's the same joint movement. Watch how the MCP relaxes or extends as PIP flexes to the resting string.
Trading one compromise for another. These guitarists who play off the right side of the nail have to deal with a very bent wrist and the issues that might create, but in comparison to the straight wrist, left side of nail players who approach the string at a 45 deg, they don't have to reach with the index finger or have to deal with the intersection of thumb and index. Watch anyone playing this piece who uses a straight wrist and plays off the left side of the nail and you'll see the index reaching. It's a different sound for sure, brighter and more percussive, but it does have a nice clarity that is sometimes lost when one always slices the string at a 45 deg angle.
Here's a slow motion of this guitarist's right hand. He appears to be playing off the right side of the nail and clearly he pulls the string more away from the guitar than some, but really, not that much. Even players who teach not to do this are actually doing this. You can really see from both angles how his finger lengthens to reach out for the string (MCP flexion while PIP extends) and then the moment the string is released it's the opposite movement (MCP extension while PIP flexion). The other thing you can clearly see is his finger waits to reach out for the string until just before it needs to, it doesn't just spring back on its own after every release. Play-relax may have some value as a practice technique, but it's not what guitarists are actually doing during performance.
Guit-box. I think that at a certain speed you have to do what you are describing. Not necessarily at slower speeds. I'm wondering if the players that describe knuckle joint playing aren't simply showing it at slower speeds?