BugDog wrote:Yes, I agree, quite curious. Seems we've got a new point of contention like with the rest stroke-no rest stroke arguement. Right arm-no right arm counterbalance. Left thumb-no left thumb pressure.
I personally don't think that these things are mutually exclusive. It seems to me that this is mostly kind of a never ending dance between placements and pressures that can be individually different and vary with what one is trying to accomplish.
Are you not reading what I've written or you simply don't want to consider the complete elimination of this problem through the way I've suggested?
Polifemo de Oro wrote:I find this whole discussion quite curious--particularly all of this talk about "freeing up" the right hand. I find it puzzling, in fact, because I think most guitarists aim to achieve stability in the right hand. This is certainly true of flamenco guitarists as well. Personally, I do not believe that Mr. Galbraith's playing posture will ever be anything more than niche--and an extreme one at that.
Well I think stability doesn't mean keeping hand still or stiff.
To me, sound comes first.
So, for example, if you play a scale from string 6 to string 1 and you pivot from around elbow or the part of the right arm that is resting over the guitar, the hand will make an arch and it will go nearer the bridge as you go down toward first string. To keep sound consistency, you need to "slip" the arm over the guitar in order to keep the hand in a consistent distance from the bridge and to keep the same tone. So you need to elevate the arm a bit anyways, even if you keep it touchng the guitar, but you need to free up some weight to allow the arm slipping over the guitar, in order to control a constant distance from bridge and keep the tone consistency. I find this movement easier with a completly free arm.
I agree a lot of modern players tend to keep the hand still. It is certainly easier to play this way. But those are normally the boring ones. Good players vary the hand position a lot, in order to achieve wider dynamics and tone color.
Finally, I think it is ok to play in the regular traditional position. There are a lot of great players playing in the traditional way, with a lot of dynamics and color variation, with great ease. I am just trying to put my experience and trying to help those that would like to try. It is a bit tricky to do it alone with no guidance. I actually like this Galbraith's style more because of the overall ergonomics rather than simply right arm freedom. I think his posture is more symmetric, elbows are lower, it is easier to reach higher frets or any position without twisting the spine. At the end I think I can reach a better concentration level, that is the main reason I like this new posture.