Recuerdos. I was very fortunate to have a world-class teacher for my first teacher on CG. I was, however, a very advanced musician on another instrument, but began like a minimum wage laborer on the CG. I moved very quickly through the literature and before the end of the first year, my teacher introduced me to RDLA. I knew once I read the piece that it would be impossible to play acceptably and I told him that, based on my musical past, this was far beyond my current skill level. He said, "let's try it and see what happens." After 4 weeks, I told him that it was a waste of my time, it was beyond my skill level and it sounded so bad musically when I played it I couldn't stand to practice it any longer. I said I wanted to move to another piece more appropriate to my level, which we did, and I began again to climb the hill. I stayed with this teacher for several years and he helped me progress to levels I deemed acceptable to my time on the instrument. To this day, I still wonder why he chose that piece at such an early stage and how another less committed student might have quit. It is my opinion that some players, including those who are quite advanced, will never get a good clean, rhythmic tremolo. And, if you have had any serious trauma to your RH in the past, it will be impossible. So, in my previous discussion about whether tremolo was really necessary, I say again, No! Is it another tool in your box if it works? Sure. Does it make you less of a musician without it? That would be like telling a Cy Young award winning pitcher with a 100 mph fastball, slider, cutter, and roundhouse curveball that his greatness is not complete since he doesn't throw a knuckleball. Playing again . . .Rognvald P.S. I don't throw knuckleballs!
"And those who were seen dancing were thought to be insane by those who could not hear the music." Friedrich Nietzsche, Thus Spake Zarathustra