Two string trill

[petrus]

What do you think about txo string trill??? in the Russel site there are many suggestions to use this trill that was introduced by Giuliani in the Op. 1 http://www.davidrussellguitar.com/tip.html does anyone practise with it??? i have ever used trill on one string

[Freeman]

Hey petrus, that trill looks interesting. I have been working some two string trill that Liona Boyd uses...

PAMI play on the 2nd and 1st strings

and IAPAIMPA

[Prélude]

I have ever used this technique when I played pieces of Scarlatti (duet, i don't remenber the n°) and Bach (Allemande BWV 996).
It is very practical to use this technique because the sentences are more fluid.

[Florentin]

It is quite common to see guitarists use "cross-string thrills", especially when playing baroque music.

I've seen David Russell do that. Sounds wonderful.

One major advantage, I guess (and there might be others) of playing cross-string thrills over single-string thrills is that the cross-string thrill can last forever, and you can actually grow in volume, a lot, as you get towards the end of the thrill.

[Classicalguitarman15]

It completly is dependent on the type of piece and the effect you want to give. For instance, at the end of Bach's Fugue in a minor there is a trill. I play a two string trill because I find it important to keep consistency in this piece considering I play a two string trill for the other trill in this piece.

[Sanft]

I find it interesting that Giuliani as well as Simon Molitor prefered this trill. Only short "Praller" or "Doppelschläge" were played l.h. exclusively. Molitor in the advice to his Sonate op 7 and Giuliani in his op 1b are quite clear about that.
Clemens … el niño que soñó la musica

[Athanasios Ziros]

I use this trill for baroque pieces and a very nice example is Bach's invention in Dminor tr. for two guitars. A tricky point is that when one of the two strings is open and is not the last note then it must be stopped with the right hand (for example e 1st string d 2nd string - d last note and e keeps sounding!).

When there is no open string this is much easier achieved ofcourse by lifting left hand's finger. (for example a 1st string (1) g# 2nd string (4)-g# last note, lift (1) from 1st string)

Now, wich way upwards, downwards the trill must be played and for how long is a totally different question.

[masoroso]

I use them in certain Scarlatti sonates (the famous E major - transcibed by Barrueco for example) all the time. My teacher doesn't approve it but it sounds more like the original keyboard version and I think it sounds just fine. The problem is to be consistent because in certain passages it is easy to play the trill over two strings but on other locations it is nearly impossible. Mixing the two techniques is `not done' because it makes the piece unbalanced in my ears. But yes.. I am a fan of two string trills

Nice site by the way, I never visited his site before

[Mon]

I was most intrigued with the “a i m p a i m p” trill. Looks like more bother than it’s worth. Is that actually a good technique? It just seems so awkward.

[BFGuitar]

It takes time to get used to.

The thing is, doing it is one thing. But being able to do it in a pice is another.