CarlWestman wrote:For those bars - D#/E/D#/E, the approach I was thinking of is the same technique as was covered in exercise 40 on p. 84 of D02.
That's exactly what JFD is doing. But he's using i&m, not m&a as you suspected earlier.
Beatriz Martin wrote:Yet I don't understand why do we have to damp the treble notes, they don't ring as loud as the bass, especially the E on the 1st string you could hardly hear it ringing after playing. I understand the bass should be damped because now their ringing bother me, but the treble they don't bother me when they ring, my ears haven't opened to that yet.
It's also that some guitars sustain the treble string better, new strings will sustain longer than old worn out ones, etc. But most likely it is as you said, you're just not paying attention to the difference in sound between the notes ringing together and not. Also note that JFD damps one string just slightly after plucking the other, so they do ring together a very small amount of time. That way he achieves seamless legato between the notes, without creating much dissonance that would result from not damping the strings at all. Mastering this (damping) technique allows for subtle control of the sound, and playing guitar well really is a lot about subtle things.
If you do the muting with your fretting hand pinky, it's almost inevitable that the notes will not sound legato, and therefore I do not recommend it.