Right hand technique: a new perspective

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Jez
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Re: Right hand technique: a new perspective

Post by Jez » Fri Apr 26, 2019 2:45 pm

Rasqeo wrote:
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?
I had wandered that too but I seem to remember Ortega saying he believes tremolo to be the litmus test of a classical guitarist’s technique, however I may be remembering that wrongly.

I’m not sure if I agree, but then I am a rank amateur!

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Mark Clifton-Gaultier
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Re: Right hand technique: a new perspective

Post by Mark Clifton-Gaultier » Fri Apr 26, 2019 2:53 pm

Rasqeo wrote:I still hear a slight gallop.
I hear a distinct gallop.

Rasqeo
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Re: Right hand technique: a new perspective

Post by Rasqeo » Fri Apr 26, 2019 6:48 pm

Mark Clifton-Gaultier wrote:
Fri Apr 26, 2019 2:53 pm
Rasqeo wrote:I still hear a slight gallop.
I hear a distinct gallop.
I was trying to be kind!

Rasqeo
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Re: Right hand technique: a new perspective

Post by Rasqeo » Fri Apr 26, 2019 6:56 pm

Jez wrote:
Fri Apr 26, 2019 2:45 pm
Rasqeo wrote:
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?
I had wandered that too but I seem to remember Ortega saying he believes tremolo to be the litmus test of a classical guitarist’s technique, however I may be remembering that wrongly.

I’m not sure if I agree, but then I am a rank amateur!
It’s true you need a solid technique to play tremolo well but I don’t really see what would be proved by a 15 second clip of a smooth tremolo being played.

SteveL123
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Re: Right hand technique: a new perspective

Post by SteveL123 » Fri Apr 26, 2019 7:53 pm

Mark Clifton-Gaultier wrote:
Fri Apr 26, 2019 2:53 pm
Rasqeo wrote:I still hear a slight gallop.
I hear a distinct gallop.
So do I!

Crofty
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Joined: Tue Aug 14, 2018 7:32 pm

Re: Right hand technique: a new perspective

Post by Crofty » Fri Apr 26, 2019 8:18 pm

Mark Clifton-Gaultier wrote:
Fri Apr 26, 2019 2:53 pm
Rasqeo wrote:I still hear a slight gallop.
I hear a distinct gallop.
I think I'm past caring...

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petermc61
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Re: Right hand technique: a new perspective

Post by petermc61 » Sat Apr 27, 2019 12:10 am

I think the gallop is due to the sticky dust. Might be smoother if that wasn’t there.

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bacsidoan
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Re: Right hand technique: a new perspective

Post by bacsidoan » Sat Apr 27, 2019 12:36 am

You people are beating a dead horse. I'll give him full credit. Gallop or not, Mr. Ortega's tremolo is better than mine for sure :)

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Sat Apr 27, 2019 1:17 am

The camera was hung from the music stand with packing tape and was swaying back-and-forth!🤣:



It's so much fun to finally be able to do this!

musikai
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Re: Right hand technique: a new perspective

Post by musikai » Tue Apr 30, 2019 8:37 pm

I think for this Malaguena passage the tremolo is ok.
How does it fit into the whole piece?

Would really like to listen to the complete piece, Scott?
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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed May 01, 2019 12:55 am

These arpeggios were impossible until today.

New observation: "planting" must be avoided, at least in this context.

* note: I am still interested in exploring the value of planting in certain scenarios, such as with block chords etc and I'm committed to studying where exactly Maestro Pepe Romero utilizes his planting technique...however, planting of any sort in this context makes its execution impossible.

Here I am invoking all parameters of the discovery, ensuring that the finger that follows p (in this case, the i finger) begins its approach to its string (always and only from fully "relaxed out" tip segment status) at the very moment that p strikes its own string. This timing is imperative.

Said approach to string, as well it as the pluck itself, takes place through the sole activation of the tip joint; the 2 larger joints are left static/ relaxed at all times.

Must also invoke the "sticky piece of dust" parameter, ensuring that the tip joint's contractive trajectory is as narrow/ tight/ immediate as is possible, such that the imaginary piece of sticky dust would be flung up from the underside of the nail, straight up to the underside of the plucking finger's own large/ main knuckle joint, where it would stick:



(Plus a new tremolo example).

Crofty
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Re: Right hand technique: a new perspective

Post by Crofty » Wed May 01, 2019 10:38 am

As Charlie Brown would say:

"Good grief!"

musikai
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Location: Augsburg, Germany

Re: Right hand technique: a new perspective

Post by musikai » Wed May 01, 2019 12:33 pm

Ortega wrote:
Wed May 01, 2019 12:55 am
These arpeggios were impossible until...
Hi Scott,

I know you don't listen to us and don't answer.
Why do you try to play with such an extremely arched wrist?

Have you ever seen another guitarist playing this way?

Have you ever tried to play with a more straight relaxed wrist and more curved fingers?

What happens if you try?

I say this because continueing to practize with your current posture will not just lead to nowhere but make things worse.

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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Thu May 02, 2019 8:27 pm

Sextuplets are much smoother and more natural here, though still room for improvement.

I'm becoming more and more secure with each hour that passes, in resisting the tendency to "plant".

 Jettisoning that tendancy as well as burning in all of the parameters of the discovery is making all of this possible.

 Not only must I break old habits but I must learn new ones, the ones that I have discovered on my own.

It may seem curious that I was proud of the clip that I posted prior to this one...

Please keep in mind that for many years I could not play a single note, let alone 6 in a row on consecutive strings.

Whether the last clip was labored and struggling or not, to me it marked a great victory. 

 The sextuplets and the tremolo are far better here, though again, I recognized that there is much room for improvement with both.

The miracle is that they are happening at all.

 Many other guitarists worldwide will also find relief through the same steps that I have taken and presented all of you with.

I think many misunderstand me; they believe that I am proud of my playing to the extent that I would compare it with that of an accomplished master

That is not the case. We have here the case of a blind man who can now see again, even though he may need very thick glasses and only be able to see in broad daylight. For such a man, this is one of greatest moments of his life, and a true miracle.

There are many others out there who are similarly "blind", just as I once was; with my discovery applied, they will be able to see again as well. Some will even be able see perfectly, at some point.

I believe that I will be among those in the latter group one day. That is what I will strive for for the rest of my life, as I continue to share what I've discovered with everyone that I can, in every way that I am able😀:


Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Fri May 03, 2019 3:54 pm

Almost perfect now...

The secret is in refusing to activate either of the 2 larger joints at any time, for any reason (paying special attention to the finger that follows p) and ensuring that that finger relaxes the moment it is finished with its pluck.

 Any and all forms of planting, "sequential" or otherwise, are completely avoided.

 I know it's still slightly lopsided rhythmically but it is almost there; the complete relaxation of the i finger following its pluck will be the key to final perfection.

Perfection SHALL be attained.

 Said "instantaneous relaxation", of the finger that follows p in particular, is very difficult to burn in:


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