I found this list of players who primarily use free stroke.
Leitmotiv wrote:Apoyando does have the drawback of being less free-flowing ; above all, melody needs a solid legato.
guit-box wrote:I've heard in passing at least a couple times that there are schools/teachers that discourage the use of the rest-stroke. Does anyone know the specifics of this and what teachers advocate using only free stroke? What is the reason? I can imagine that it would make your right hand more consistent since it only needs to have one positions for every stroke, but I can also imagine the performances would sound more keyboardistic than traditional classical guitar or flamenco guitar technique.
AndreiKrylov wrote: And when we limit ourselves only in one, identical style of handwriting/ playing when we loose our individuality, and then that's why Mel Hallam hears so many guitarist sound "sound so sterile, thin and even monotone" exactly because in the process of years study they becoming sterilized... it happens on subconsciousness level - limitation of movements=limitations of emotions...
That is my simple explanation...
AndreiKrylov wrote:Free stroke school is widely taught everywhere especially in Europe, I know it is taught in Sweden and in some places in Germany and people who studied in those universities shared it with me. The main argument of this school is basically speed and precision - guitarist using this technique can play faster and more precise and concrete sound (as they said).
Tom Poore wrote:AndreiKrylov wrote:Free stroke school is widely taught everywhere especially in Europe, I know it is taught in Sweden and in some places in Germany and people who studied in those universities shared it with me. The main argument of this school is basically speed and precision - guitarist using this technique can play faster and more precise and concrete sound (as they said).
The irony of this, as you surely know, is that many of the fastest and most precise players use rest stroke. It certainly hasn't hindered Pepe Romero.
I've never understood this ongoing campaign against rest stroke. Second tier players sometimes spin theories on how, with the right kind of free stroke, one can "almost match" everything that rest stroke can do. (Tellingly, there's often an "almost" in everything said or written about the interchangeability of free stroke and rest stroke.) Fortunately it seems to have no effect on great players. That's not surprising. Second tier players rely on theories—great players rely on their ears.
South Euclid, OH
Leitmotiv wrote:In the above postings, people are pretty much asking "why limit yourself; why shun apoyando?". All I can say is that the possibilities/horizons are limitless... but only through tirando. Now, I've never had much in my life that was mine and mine alone, until I discovered this way of expression; this 'free stroke'. That's what puts guitar up there with any instrument used successfuly in art music performance.
As I said before, I do use apoyando. And are the guitarists who use it so sparingly less than complete? Well, that depends. It depends; how deep how broad their tirando.
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