kmurdick wrote:git-box says: "Now take another person who gets the same instruction and takes it literally. They focus on moving just from the main knuckle as someone like Kanengiser teaches in his video. (with his arm/leg demonstration where he's locking the other two joints) or Tennant who talks about walking from the hip being an analogy of how to pluck and the MCP is the main thrust. -- relegating other joints to being just "helpers"
This is a very important point. If I were teaching now, I would say flex the knuckle joint and the middle joint together and then release the finger after it passes through the string. I wouldn't mention the "hooking" motion unless I saw his finger follow through too much which would mean that the student was stifling the natural release. Then I might talk about the knuckle joint segment popping up quicker. The more you know, the better you can teach. It may be true that correct appearance in a stroke doesn't tell the whole story, but an incorrect appearance usually indicates trouble.
I remember Tom Poore working on his rest stroke. His 'i' finger didn't look right in that it stopped moving freely when he increased speed. I mentioned that if he didn't work on getting the 'i' to pop up naturally, nothing good was going to happen. Of course Tom had made the decision to listen to the virtuosos (not hacks like me), which at that time seemed like a rational decision.
Are these videos of Tom still online somewhere? Maybe we can slow them down if they have closeups and see if slow motion exposes anything obvious.
Edit: Okay, I found this one of him. Well, I think actually for an old guy with a white moustache, I'd say he succeeded quite well. If I'm looking at how his hand works and comparing it to the 100s of other right hands, then I have a few observations.
1. I think he may need some more initial flexion momentum to the strings from the MPC joint
2. but then he definitely needs to transfer the work to the middle joint (PIP) because at times it looks like m is pushing through the string too much from MCP and sometimes i looks like it's doing the opposite, it's using all PIP and not enough MCP flexion.
3. maybe the most important thing he should do is collapse all his tip joints all the time on rest strokes. Everyone I've observed collapses the tip joints for rest stroke and you're putting a lot of undue stress on the hand if you don't
4. Then, he should consider what it feels like to release the string from the tip joint at the moment the tip joint is fully collapsed. I don't know if this is good or bad advice, it's just something I've been observing lately. Once the tip is completely collapsed, it's actually then in a very good position to add some flexion of its own. Pepe Romero talks about this in his book La Guitara
Will any of these things change his i,m rest stoke alternation, I have not idea, it's helped me some, but I'm also an older guy with grey facial hair, so it may be too late for us to play like Paco.
Check out Pepe Romero's rest strokes on the 6th string. Okay, I know what you are going to say, he can't do rest strokes on the 6th string, but this clip of him playing the 6th string is a rest stroke clip. I can post the rest of it and he eventually goes to all 6 strings and he's doing rest strokes on the other 5 strings, so this is in rest stroke position. What's the most telling about this is that his "rest" strokes on the 6th string don't have MCP follow through, but they do have DIP and PIP follow through, and quite a lot of it. You can watch him momentarily stop on the string with the tip joint fully collapsed and then it appears that the TIP JOINT IS ACTUALLY CONTRIBUTING TO PLUCKING THE STRING!!!. Along with the PIP flexion too, of course. But, wow, this is only something I've just recently considered as a possibility and something I need to experiment with in my own hand. (Just to be clear, I think MCP is contributing flexion too, but the tip joint contributing to the pluck is something I NEVER before considered)
Here's the full clip