Ah ok. I get it. But I'm still curious why anyone would exclude the pinky by default? If yout got it.. flaunt/use it =)

The way the right hand is slightly angled and the way the fingers connect with the string means the hand can stay fairly still while using I,M and A. However the little finger being so much smaller to be used would involved tilting the hand and just detrimental to the other fingers working efficiently.

In a strum the little finger ofcourse is okay but it is just too little

Can you pluck a E string and come to rest on the b string?
With the pinky that is? How about the index?
I say this because its the first step in classical guitar.

[/quote]
Can you pluck a E string and come to rest on the b string?
With the pinky that is? How about the index?
I say this because its the first step in classical guitar.[/quote]

You would rest on the b string after striking the e with an index or middle but the pinky just stays away completely unless you do a strum. I hope that helps.

Matt

Can you pluck a E string and come to rest on the b string?
With the pinky that is? How about the index?
I say this because its the first step in classical guitar.[/quote]

You would rest on the b string after striking the e with an index or middle but the pinky just stays away completely unless you do a strum. I hope that helps.

Matt[/quote]
I wasn't at all asking in any serious sense of the question. I feel a bit misunderstood.
I was simply making a point about how worthless the pinkey is to classical guitar. If one can't pick fast enough with the three ima fingers the pinky is not gonna help. Refering to what Progg was saying or asking about pinky pinkin.
Kev

Sorry Kev

Sometimes I can be a bit literal!

Matt

Hi

I have included a link from a very comprehensive site that includes details of playing techniques.

A few people who think that Classical music is more in agreement than other styles, like rock, may find it interesting that like anything there are several modes of thought on techniques.

There are many ways to skin a cat.

http://www.mangore.com/rrr.html

Hey, Matt...
Nice to see this here.
Getting back to the tremolo... the way I learned it differs from the way you explained it earlier. (And I still have not gotten it down). I was under the impression that the (and I quote) "proper" technique was P,A,M,I. (Obviously, P playing the root note and A,M,I playing the upper note). I've seen Liona Boyd perform several times and it appears she uses this technique as well. Any thoughts?

Thanks...

Hi Whitewolf

You mean the the post whre I said a good right tremelo study was to practice I,M,A,M and A,M,I,M?
This exercise is for looseing the right hand fingers up and to prepare them.

If you then used the thumb doing say the bass of E then the E string the note groupings would be quintuplets (groups of 5)

Conventional Tremelo use... ie Tarrega's Recuerdos De La Hambra

The most common way tends to be the way you mentioned Liona uses. P,A,M,I although I would disagree with the notion of 'a proper way'. I am going to post me playing it soon so you can hear how it works for me.

I have seen Guitarists use both ways and personally I prefer P,I,M,A, the reverse way.

Classical Guitar has changed alot even since the 1980's and many ideas and techniques, and especially ways of thinking, have evolved since the era of Julian Bream, John Williams and then the generation including Liona Boyd, that followed after.

Modern teaching in conservatoirs and music schoools, while still instilling certain conventions, like the left leg being used and the thumb behind the neck for example, is more open minded.

Alot of modern teachers like Gary Ryan who is Professor of Guitar at the Royal College Of Music, while respecting the work and inovations of guiitrists such as the amazing Andres Segovia, regard many things he did, as sub-standard in comparison to what we know now.

Sorry about this absurdly lengthy post. I wish I could be more concise


Cheers and thanks for the interest

Matt

Thanks... and no worries, your reply was fine. Looking forward to the sound clip. (I've always loved songs with tremolo).
I only said "proper" because that's the way my books explained it.

well ive been playing around with dynamics. Without dynamics things start to tend somewhat boring. I recorded this im not sure if it brought out the dynamics like i intended but here goes

http://media.putfile.com/coreygclassical

don't be too harsh

That was great, Corey... no real work need there.

your words flatter me
hehe lets hear some of your work joe.

HI RRTribute

Who was the composer? It sounded like a Carcassi or Sor piece: but nicely done

dang your good, it was F. Sor
Thanks any advice to improve???

Hi RRTribute

The piece is really quite complete..really. If it was recorded with no chorus (?) it would be easier to hear any tone changes. That's the only thing I would really work on from here on. When the main theme repeats, alter it in some way. If the tone was warm to start with maybe make the tone more brittle etc and vice versa.

The flow of it and phrasing sounds very musically done. The chromatic bits have got a nice lift on them that is slightly louder than the rest of the pharse.It is shaped well... Good stuff

On the Recording thing i zeroed the chorus yet its still going? I dont understand it at all. I'll fiddle around with dynamics some more. I just started out with dynamics and wow i must be doing something right. Thanks for the very kind words.

Working on it.

Matt, thats very cool of you to post everything in tab for those who do not read music. it gave me an interest at it as well !

Thankyou RR

It is my pleasure.

Matt

Yeah, this isn't the largest thread but it helps me motivate myself playing this kind of music/style. Ordered this book with CD on Tarrega. Hope it gets here soon. Also gonna purchase me a new acoustic. Haven't tried any out yet though. Gotta save up some € first also hehe.

Hi Progg

What pieces are there in the book?

Matt

Matt: It's this one http://www.amazon.com/Francisco-Tarrega ... 19-4150304

"Adelita, Capricho Arabe, Estudio Brillante, Grand Jota, Lagrima, Malaguena, Maria, Recuerdos de la Alhambra, Tango and more, plus bios of Tarrega and Henry."

Hi Progg

Wow your going to have loads of fun there! Tarrega is the man.

Matt

Yeah, I guess =) I'm just into learning new stuff and Tarrega seems nice enough hehe. Also working on "Borree in Emin" by Bach a little. Just to get my fingers started. It's a nice little tune hehe

Hi Progg

It would be great to hear you play Bouree. That was a grade 6 piece only 2 years ago.

I think Bach sounds beautiful on the Guitar

Trust me, I'd like to hear me play that one also =)

I borrowed a friends digicam and I realized it could also store videos with sound so I recorded two clips today. I'm not sure if it's against any rules to post any unrelated stuff so I'm just gonna post one that has a classical style to it =)

http://progg.starbase.se/test/edith.piaf.avi

I'm sorry for the bad sound dunno what's up with that.


I actually recorded this for my mother who's been struggeling with breast cancer the last year. Thought I should do at least SOMETHING that'd make her realize I care. She enjoyed this one =)

xx123456

That is correct. =)

Progg

That piece is absolutely beautiful. It was so heartfelt. Really nice work there Progg!!! it's still echoing in my head as I write.

Have you seen a film called 'Sweet and Lowdown'?

It's about a fictional jazz guitarist and Django Reinhardt is in the film too. The whole soundtrack is the most beautiful jazz guitar. Your piece was like a piece straight out of it.

Your mum is lucky to have you! Really great work that proves yet again that sound quality is irelevant when a piece is that good.