Right hand technique: a new perspective

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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Tue Apr 23, 2019 3:01 pm

More irrefutable proof, the best so far:



Steve, If you say that these 3 examples (which are all different) are "uneven", you are focused on meter not rhythm, and you also are mistaking the intentional and desired over ring of the final treble note of each beat over the bass note of the next beat, for "unevenness".

The four subdivisions of each beat must be executed one after the next and in equal time, but the final subdivision will ring over during the next beat's thumb stroke, which causes that final subdivision of the previous beat to have a lifespan that is twice as long as the first two treble notes of the pattern.

Halfway through that final subdivision's full lifespan, the thumb stroke is played, during which the final subdivision of the previous pattern continues to ring along with the new bass note.

This is not only normal but is desired, and in fact it is required for tremolo.

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Tue Apr 23, 2019 3:03 pm

Ortega wrote:
Tue Apr 23, 2019 3:01 pm
More irrefutable proof, the best so far:



Steve, If you say that these 3 examples (which are all different) are "uneven", you are focused on meter not rhythm, and you also are mistaking the intentional and desired over ring of the final treble note of each beat over the bass note of the next beat, for "unevenness".

The four subdivisions of each beat must be executed one after the next and in equal time, but the final subdivision will ring over during the next beat's thumb stroke, which causes that final subdivision of the previous beat to have a lifespan that is twice as long as the first two treble notes of the pattern.

Halfway through that final subdivision's full lifespan, the thumb stroke is played, during which the final subdivision of the previous pattern continues to ring along with the new bass note.

This is not only normal but is desired, and in fact it is required for tremolo.
And regarding my hand and wrist position: I'm extremely tall and have unusually long arms, to the point of it being quite noticeable and unusual to the casual observer.

musikai
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Re: Right hand technique: a new perspective

Post by musikai » Tue Apr 23, 2019 8:11 pm

This is my preferred comedy channel.
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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed Apr 24, 2019 5:55 pm

Steve has been noticing a meter issue which has been making the pattern appear to be metrically skewed, if not rhythmically so.

He is one tough customer! And a fine person, glad he is my forum friend.😀

I've been accenting subdivisions of the beat that are not normally accented, this still being due to remnants of false technique which have been burned in for 37 years.

Meter issue now in large part addressed here:



I am well aware it is not perfect, but most certainly it shall be.

Training the a finger to begin "coming in" towards its string through the sole activation of the a finger's tip joint, at the precise moment that p strikes its string is extremely difficult, but it is the KEY to tremolo.

The a finger must always and only do this from "fully relaxed out tip segment" status. :)

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed Apr 24, 2019 6:17 pm

Ortega wrote:
Wed Apr 24, 2019 5:55 pm
Steve has been noticing a meter issue which has been making the pattern appear to be metrically skewed, if not rhythmically so.

He is one tough customer! And a fine person, glad he is my forum friend.😀

I've been accenting subdivisions of the beat that are not normally accented, this still being due to remnants of false technique which have been burned in for 37 years.

Meter issue now in large part addressed here:



I am well aware it is not perfect, but most certainly it shall be.

Training the a finger to begin "coming in" towards its string through the sole activation of the a finger's tip joint, at the precise moment that p strikes its string is extremely difficult, but it is the KEY to tremolo.

The a finger must always and only do this from "fully relaxed out tip segment" status. :)
Sorry, inadvertently posted wrong takes, were to be discarded.

Now remedied:


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guitarrista
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Re: Right hand technique: a new perspective

Post by guitarrista » Wed Apr 24, 2019 6:26 pm

Worryingly for me, I cannot tell the "wrong" from the "right"... :| You may perceive tremolo evenness; unfortunately it is at the expense of 4 strokes morphing into a triplet p m i which is usually not considered a tremolo per se.

BTW when you make a mistake, why not edit that post and substitute with the correct video (and maybe add a clarification) - this quoting of your entire former self in a new post looks.. inelegant.
Konstantin
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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed Apr 24, 2019 9:11 pm

I do not believe anyone can say this brand new one is not nearly perfect!😉:


Again, here is how I did it:

"Training the a finger to begin "coming in" towards its string through the sole activation of the a finger's tip joint, at the precise moment that p strikes its string is extremely difficult, but it is the KEY to tremolo. The a finger must always and only do this from "fully relaxed out tip segment" status."

musikai
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Re: Right hand technique: a new perspective

Post by musikai » Wed Apr 24, 2019 9:56 pm

guitarrista wrote:
Wed Apr 24, 2019 6:26 pm
You may perceive tremolo evenness; unfortunately it is at the expense of 4 strokes morphing into a triplet p m i ...

Yes, a triplet. That fits to the 3 different parts of his hand he 's using:
p am i
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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed Apr 24, 2019 10:29 pm

musikai wrote:
Tue Apr 23, 2019 8:11 pm

This is my preferred comedy channel.
I'm not sure what is comedic about a professional classical guitarist being stricken with severe focal dystonia many years ago, suffering from it to the point that he could not play even a single note for 17 years and then curing himself to the point that he can now play again, including playing a tremolo that does in fact contain 4 equal subdivisions as in the clip that is embedded in this post.

Thank you for your feedback!
guitarrista wrote:
Wed Apr 24, 2019 6:26 pm

Worryingly for me, I cannot tell the "wrong" from the "right"...  :|  You may perceive tremolo evenness; unfortunately it is at the expense of 4 strokes morphing into a triplet p m i which is usually not considered a tremolo per se.
You are mistaken. The clip that is embeded in this specific post contains 4 perfectly discernible and equal subdivisions.

Thank you for the feedback, my friend!
Ortega wrote:
Wed Apr 24, 2019 9:11 pm

I do not believe anyone can say this brand new one is not nearly perfect!😉:



Again, here is how I did it:

"Training the a finger to begin "coming in" towards its string through the sole activation of the a finger's tip joint, at the precise moment that p strikes its string is extremely difficult, but it is the KEY to tremolo. The a finger must always and only do this from "fully relaxed out tip segment" status."

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Thu Apr 25, 2019 3:39 pm

It wasn't perfect yet but it is now!😀😀😀

Tremolo transcendence!:



All three examples are different takes.

We MUST invoke the symbiotic relationship and "earliness" parameters of my full discovery with the a finger!

My original technique discovery makes this possible as follows, here is how I did it:

Training the a finger to begin "coming in" towards its string through the sole activation of the a finger's tip joint, at the precise moment that p strikes its string is extremely difficult, but it is the KEY to tremolo. The a finger must always and only do this from "fully relaxed out tip segment" status.

 Also we MUST invoke the "lightness and tightness" symbiotic relationship that I've discovered (see full description section of linked video) with the extraordinarily narrow or tight or immediate tip joint contractive trajectory during that joint's SOLE activation, focusing on the finger that follows p or is used you simultaneously with p.

 We must ensure that we are using an extraordinarily narrow or "tight" or "immediate" tip joint contractive trajectory  during that joint's sole activation, such that it's as if there is a piece of sticky dust that is stuck upon the underside of our nail.

We are attempting to fling that imaginary piece of sticky dust straight up so that it would stick upon the underside of our plucking finger's own large/ main knuckle joint. 

 This, coupled with the "earliness" parameter that I've discovered, ensuring that the a finger begins coming towards its string (using only the tip joint of the a finger to do so) at the precise moment that p strikes it's note, is what is causing what you see on the video.

 Both of these parameters are crucial! 

Never activate either the middle joint or the large/ main knuckle joint at any time for any reason; simply allow them to move as they must, in response to the tip joints sole contractive action, for both bringing the finger to the string and plucking the string.😀

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guitarrista
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Re: Right hand technique: a new perspective

Post by guitarrista » Thu Apr 25, 2019 5:38 pm

Actually now it is a bit worse than before; it is still a pmi triplet instead of pami tremolo, but now it's lost its evenness - p m i [gap] p m i [gap]. The gap is not huge but you are definitely rushing the pmi (or (p) (am) (i) as musikai pointed out) so that the (i) is finished too early.
Konstantin
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1982 Anselmo Solar Gonzalez

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Thu Apr 25, 2019 8:10 pm

Smoother takes, plus single string tremolo. It's easy, when discovery is applied!😀

Its actually not that hard with all parameters applied!:


Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Thu Apr 25, 2019 8:40 pm

I now have 5 professional guitarists telling me that the tremolo examples in the last clip that I posted, just above, are literally flawless.

These players are good friends of mine and have asked me for complete anonymity at this time....but I wanted you all to know, nevertheless!😀

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guitarrista
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Re: Right hand technique: a new perspective

Post by guitarrista » Thu Apr 25, 2019 8:51 pm

Well, I understand why they asked for "complete anonymity".
Last edited by guitarrista on Thu Apr 25, 2019 9:50 pm, edited 1 time in total.
Konstantin
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1982 Anselmo Solar Gonzalez

Rasqeo
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Re: Right hand technique: a new perspective

Post by Rasqeo » Thu Apr 25, 2019 9:12 pm

I still hear a slight gallop. That being said, some professional guitarists have gallops in their tremolo!

Why the the obsession with tremolo in any case?

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