Thank you, Zafar. I know this is a holy war topic, but I personally believe that tirando is more universal and has no rest stroke limitations. Thus, developing proper tirando technique (so that it sounds warm and round) is more worthwhile.Zafar Haq wrote: ↑Fri Nov 03, 2017 4:40 amHi,Andrei,
In different discussions,it is advice to play scales both "tirando" and "Apoyando" techniques.
In same discussions,I picked more saying that for faster speed playing scales to use "Apoyando" technique. Segovia, suggesting and advising for his scales to use "Apoyando" technique.I don't know personally, what is good answer for your question.
Hi Andrei, I can't give you a definitive answer on why, but I'll share what Segovia says in his scale notebook referenced by Zafar, for what it's worth, that it will "...correct faulty hand positions, gradually increase the strength of the fingers, and prepare the joints for later speed studies...":
Segovia also gives seven fingerings, one of which is: i m a m i m a, which has the advantage of eliminating the galloping rhythm that naturally arises from repeating a m i or i m a.Andrei Puhach wrote: ↑Fri Nov 03, 2017 3:11 pmFor faster scales I'd rather go with the three-finger approach (a m i a m i ... ) which I'm currently working on now (very difficult to do string crossing).
Thank you, John, for this info. I'm not sure how valid this point is for beginners that rest stroke can correct faulty hand positions... One can play rest stroke with almost straight fingers, but it is impossible to play free stroke with straight fingers.JohnEllis wrote: ↑Fri Nov 03, 2017 3:33 pmHi Andrei, I can't give you a definitive answer on why, but I'll share what Segovia says in his scale notebook referenced by Zafar, for what it's worth, that it will "...correct faulty hand positions, gradually increase the strength of the fingers, and prepare the joints for later speed studies...":Segovia also gives seven fingerings, one of which is: i m a m i m a, which has the advantage of eliminating the galloping rhythm that naturally arises from repeating a m i or i m a.Andrei Puhach wrote: ↑Fri Nov 03, 2017 3:11 pmFor faster scales I'd rather go with the three-finger approach (a m i a m i ... ) which I'm currently working on now (very difficult to do string crossing).
You're welcome, Andrei.
Thanks for letting us know, Colin.Colin Bullock wrote: ↑Fri Nov 03, 2017 9:21 amJust to let you know I will be updating the index of completed assignments this weekend, but will only do further updates once each week until nearer the exam.
Chu, that's a very good point re flamenco actually. Indeed, they play scales with i-m mostly (called 'picado'?). I agree, it allows much more control. Yeah, some great guitarists play m-i-m tremolo indeed, but I would not follow that example actually...Chu Bun wrote: ↑Sat Nov 04, 2017 4:39 amCertain teachers or "schools" advocate certain methods. I guest we should be open minded, try and see what work best for us.
Regarding Apoyando, I think resting one of your fingers on the string helps to stabilize the hand for very fast passages. There must be reasons that Apoyando is used extensively in Flamenco where blazing fast scales are an integral part of the style.
Personally, I leave out the "a" finger when trying to do anything "fast". For example, try to play Asturias using p-i-p-i, p-m-p-m, and p-a-p-a. The first two should be comparable in speed, but the last will be quite slower and it's not solely because the "a" finger is often weaker. I read somewhere that your hand has three "cables" for the fingers, one for the thumb, one for the index, and one shared by the rest. Your "a" because it's in the middle has to pulls along other two finger when it moves and thus has more inertia. I believe some players (Anna Vidovic ?) even plays tremolo using m-i-m instead of a-m-i.
p.s. Just tried Asturias, and p-a was not much slower, but it took more effort even when compared to p-pinky!
"a" is sandwiched between two fingers that shared the same ligaments. It is easier to move either "m" or pinky compared to "a". At least that how it feels like for me. I believe it is the same case for piano players, ring fingers are more difficult to master.Andrei Puhach wrote: ↑Mon Nov 06, 2017 4:32 amNot sure why you are saying that p-a is harder than p-pinky.... I think a is much stronger than pinky, no?
C'mon, it is just 2 strings, it is manageable. 3 strings would be much worseBinh NguyenKhac wrote: ↑Tue Nov 07, 2017 2:17 pmPaganini, Niccolò - Ghiribizzo n°17 Le Streghe
a pinky barr right after an index barr ... That's how to destroy one's pinky![]()
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Wow! Nice work, Chu.