I see what you mean. I'm still experimenting with my nail shapes to produce warmer tone. Currently it sounds bad, too metallic and thin. May be if I played it a bit quieter/softer the tone would be more even. Another thing is the position of the right hand being perpendicular to the strings. Turning it a little changes the tone, but I believe that the perpendicular position is the right one for CG and I'm going to stick with it. So, now I need to figure out what nail shape/length gives the best result.Your high "E" notes sound, felt stronger and dominant over base notes.
If you watch younger players, most pluck the strings at an angle. For example:Andrei Puhach wrote:... I believe that the perpendicular position is the right one for CG and I'm going to stick with it...
Interesting, for me 90-degree is the most relaxed and natural position, I can play hours like that. Never felt any tension in the right hand. Actually, even greatest guitarists like Andres Segovia, John Williams, Julian Bream (to some extent), Christopher Parkening and many others play like this. And this canonical way is recommended by most guitar schools.Jeremy Gillard wrote:I'm also in the "angle" camp for how to strike the strings. I like to keep my wrist straight in line with my arm. (as much as possible) It's better for the tendons.
That's true, I watched this competition Well, it looks like the position is also determined by one's anatomy. I'm not sure if there is any correlation between age and angle, but that would be an interesting observationChu Bun wrote: If you watch younger players, most pluck the strings at an angle. For example:
I agree. I don't think you can really impose a "you must play with wrist/hand/arm in this position" theology on people - everyone is different. One player might find one position comfortable, but another find it very uncomfortable. Yes, there are foundational principles that should be followed, but people all develop their own playing style after a while. Same with fingering - I don't always follow M.Delcamps suggested fingering as sometimes it simply isn't natural to me, so I play it with fingering natural to me. I have heard pro guitarists say that it is better to find your own fingering, as everyone is built differently and is unique, another persons fingering might not be as easy or make much sense to another person.Andrei Puhach wrote: Well, it looks like the position is also determined by one's anatomy. I'm not sure if there is any correlation between age and angle, but that would be an interesting observation
For me it probably took more than 50 takes. I played it well when not in front of camera, but once you know that you are recorded it makes you play much worse and make silly mistakes! I wonder how guitarists are able to play so perfectly in front of huge audiences given only one attempt. Looks like it is the result of A LOT of practice... Or playing without warm up. See Christopher Parkening performance of Koyunbaba (easy to find on Youtube): first he talks a lot and then starts playing a difficult piece perfectly with zero warm up. That amazes me...Chu Bun wrote:
I'm way behind on this month assignments. Luckily the Soleares piece is very similar to Malaguena in term of fingering and rhythm. Most of my choking points are at measures with tricky dampings. Hopefully, I won't need 50 takes on this one.
Yeah, I see, that makes sense. Maybe we could also be like that if practiced every day from childhood under supervision of a good teacher and having much love for the guitar.Chu Bun wrote:My guess is to them the difficult level of these pieces is like doing a scale to us. They are probably thinking more about the artistic rather than the technical aspects of the piece being played.
Haha, that's true! I also tried to automate the process by attaching the camera to the lamp standing in front of me, that worked well, but as I remember the submission recording was made by my wife.Chu Bun wrote: Apparently your cameraman (or woman) has a much steady hold of the camera now. She must have lots of practice!
Congratulations! No mistakes, all notes are played properly. I'd also like to second Zafar's evaluation of your work.Chu Bun wrote: Here are my submissions for this month. Please give advice.
Well, I'll keep working on my 3 favorite pieces where I have difficulties with some fragments:Jeremy Gillard wrote:What are you going to keep busy with for the next few weeks until the next lessons are posted? Since you have these pieces down quite well.