CarlWestman wrote:First, I'm a bit puzzled about the left hand not parallel thing, because I can't really see my left hand well in the video. You're talking the fretting hand, right? I see the fingers a bit but little else. Are you basing it on the position of the heel of my hand? I assume you are saying it needs to face upwards more, and not face so much down the neck toward the guitar body?
Yes, that's exactly what I'm saying, and yes, I think I am basing it on the position of the heel of your hand. Next time, try to get your left hand to fit in the frame better, so it will be easier to analyze your hand position further.
CarlWestman wrote:Many will say I can stretch it out with time and effort. Maybe, maybe not. If I don't have to keep up with a piece, I can place my fingers in the position described above, and then force my fingers (2, 4) apart with some amount of strain and pain, I can then play the notes cleanly on a 650mm scale guitar. I cannot be done quickly (while playing a piece, for instance) but it can theoretically be done. I'm not a doctor, but I bet It's probably not wise.
Based on what you wrote, I would guess that even if your hand will stretch somewhat, you will always be handicapped compared to most others. As some kind of reference, when fretting the 'c' on the first fret of the 2nd string, my pinky will reach the 5th fret on the 3rd string without any kind of effort. 6th fret is a bit of a stretch and I feel slight discomfort in doing it, but I will get a buzz free tone from both notes at the same time rather easily. And I don't consider my hands to be of large size. And I still struggle with vertical reach in some of the D05 pieces (3rd finger on 1st or 2nd string, and pinky on 6th string one fret further type of fingerings).
CarlWestman wrote:As for the lifting up the C note on the second string, which is struck right before the B then A sequence, as well as right before the B and E combination, I did not think I needed to hold it down there, because it's an eighth note, it does not continue once the B is struck. So lifting up there and moving my hand (making it easier to get that reach) seemed permissible there. Perhaps I was mistaken?
There are times when position shifts are needed. Then there are times when they need to be avoided. To make the melody line sound seamless, you may stop the previous note as close to the same time the new one sounds as possible. Position shift will never sound exactly as seamless as just fretting or unfretting the finger and plucking the string at the very same time. And to get it even close, the shifts must be practiced separately in a piece. But that's beside the point. The standard tuning of the guitar is 5 frets apart with the exception of the interval of 2nd and 3rd string. That means that there are harmonies you can play only by having the 1st and the 4th frets fretted at the same time (for example playing d# octaves apart at 4th and 2nd string, assuming that 5th string cannot be used for d#, because there is another note played in there). The bottom line is, you can make do with the melodic passages by spending much more effort than would be needed, but you'll hit a dead end with polyphonic passages or chords that require the reach.
CarlWestman wrote:So I have been considering shorter scale guitars for some time and, while I have not bought one yet, I'm very tempted and close to deciding on one. The unfortunate thing is that slightly smaller guitars, like the Cordoba Dolce, probably wouldn't make enough of a difference for me, since they barely shorten the scale half as much as putting a capo behind the first fret (630mm vs. 613.5). It's a very sweet sounding guitar, though. So I've been looking smaller yet, such as the Cadete and a number of kids' models.
The only advice I can give is to go with scale size that lets you effortlessly fret 1st and 4th frets at the same time when your palm is parallel to the fretboard. You can then work with that guitar for a better reach, and if your hand becomes more flexible, you may consider switching to longer scale.