Tremolo, anyone?

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Post by tenn » Thu Oct 06, 2005 5:43 pm

I do a number of scales and arpeggios as part of my daily routine. From today I'm also going to do them pami on each note to improve moving my tremolo from string to string and to help keeping the thumb from dominating. It can't do me any harm anyway.


Florentin Tise

Post by Florentin Tise » Thu Oct 06, 2005 6:32 pm

I watched the video

1. Wonderful playing
2. No way she's playing without fingernails. they may be short, but she is using them.

maybe we should ask her :)

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Post by Michael » Fri Oct 07, 2005 6:15 am

I had to have a peek too and I was also impressed.

She moves her right hand fingers quite a bit, so she is giving the tremolo plenty of attack. However, beautifully controlled.

Very good recording too.
All the good music has already been written by people with wigs and stuff.
(Frank Zappa)

Florentin Tise

Post by Florentin Tise » Fri Oct 07, 2005 6:29 am

yes, it is a great video

and what a wonderful piece


Post by anathem » Fri Oct 07, 2005 4:19 pm

Florentin wrote:I bet it would be very hard to play a good, loud tremolo, without fingernails.
be certain of that it's impossible for me and most people i know.not that my tremolo is nay good but anyway..:)


Post by ClassicalGuitar » Fri Oct 14, 2005 8:11 am

I know that tremolo in folk guitar means alternate picking at a fast pace.
But i have absolutly no knowledge how it is done in classical sense using the fingers. :oops:

Can anyone guide :?:

Thanks :D :D :D



tremolo demo

Post by tomc » Fri Oct 14, 2005 10:10 pm

In classical whichever finger you start with that becomes the finger you must plant or in the old days we called it prepare. So in my case that a finger has to come back to the string when the bass note is struck. I use ami but whatever you're comfortable with. In some cases ima would make more sense such as with the Carcassi Etude no 7. There is a lot of re-think on how best to practice this. I would suggest you google Philip Hii tremolo and read his articles on the subject. Whichever way you go practice on the b string because therein lies the difficulty. On the e string there is nothing to catch and you can get away with and develope bad habits starting on the e string. The ear starts to perceive one continuous sound at 134. after you're a bit comfortable make up some simple 1st position chord changes. Some players like to hold their right hand a bit higher from the soundboard than with arpeggio execution. Tom


Post by cardamomo » Fri Oct 14, 2005 10:47 pm

Hello Tom!
That is a great example indeed!

Thank you for the explanation, and for the sound sample too, which is perfectly explanatory. Simple and straight.


Post by tomc » Fri Oct 14, 2005 11:38 pm

Sure you're welcome. :)


Post by Russell » Sat Oct 15, 2005 12:51 am

What a great example tomc, thanks.
I did have to turn up the volume, way up, after 42 seconds to hear the tremolo clearly. I did get the gist of it though.
A good tremolo lesson. :merci:

Russ :)



Post by nylonthanh » Sat Oct 15, 2005 1:10 am

That was a good example. You can hear that the tremolo is evening spaced. As it was elluded to earlier, tremolo is more or less an illusion of a sustained note by rapidly playing the note over; like a drum role. It's also important to think of the thumb as just "another finger" to avoid that accent on the first beat (with thumb). The drumroll example works well because I always think of beginning drummers (sorry percussionists) whacking away at a snare as fast as they can until they realize the techniqe to a roll. Similar, tremolo also has technique.

A good tremolo, like demostrated need not be fast, but very even and smooth giving the illusion of sustance. Carcassi et#7 never fully developed my tremolo but it was more with Tarrega's Recuerdos that developed it. The pumping nylong book does have some great examples and exercises to buid up your tremolo. For me, it just came one day after almost a year or trying. There's other technique used in Flamenco that will help build right hand speed and control.


Post by ClassicalGuitar » Sat Oct 15, 2005 7:35 am

Yes , and thanks for the philip hii search suggestion.Sure his page got some knowledge :wink:

Florentin Tise

Post by Florentin Tise » Sat Oct 15, 2005 1:56 pm

I agree with tomc that you should spend a lot of time playing tremolo on the second string... it will teach you to avoid "catching" the adjacent string.


Post by mark96 » Mon Oct 17, 2005 11:13 am

Another tremolo, suggested by Sal Bonvita, is PMAMI. See his discussion under "4-stroke tremolo". It does feel more natural because there is no 'doubling' of 'i'.



Re: Tremolo, anyone?

Post by Cricket » Thu Oct 20, 2005 5:35 pm

Florentin wrote:How do you practice your tremolo?

Here's one way I like to have my students practice tremolo:

- PI, PM, PA, on different string combinations (2nd and 1st, 3rd and 1st, and so on, with the thumb moving to the different strings)
- PMI, on different string combinations
- PAMI, on different string combinations
- play easy tremolo study: Sagreras has one, in his first book, I think, or maybe his second? My favorite study for this purpose is Carcassi's Op.60, #7. The reason I like it is because it uses both tremolo, and arpeggios, so the student has to shift between the two techniques. I also like this study, because the tremolo does NOT have to be played very, very fast - if they play it too fast, they'll never get the arpeggios that follow.
- play sections from Requerdos and sections from Barrios' Una Luminosita Por El Amor De Dios (not sure of the spelling here...)

- then, they can play an entire tremolo piece.

some thoughts?
This might help.Place two small rubber bands around your right hand fingers half way up. Also Exaggerate the fingers movements.
This might not be for everyone,but it certainly helped me.

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