googee52 wrote:Obiterred wrote "Never in these discussions do i hear much about ones forearm length, finger length, or overall body size. Aren't these factors all going to play into how one holds the instrument etc...?? "
I think these very valuable videos show us the physics of what we are trying to accomplish to produce tone. How each of us get there is going to be a little different due to our physical characteristics. While it is insightful to realize the shape of the nail as it crosses the string is what gets the downward motion, I wonder how the awakener of modern guitar - Tarrega - did it. didn't he play without fingernails?
I studied with Masakazu Ito,who did his postgraduate degree with Ricardo Iznaola,who had studied with Regino Sainz de la Maza in spain,
who had studied with Daniel Fortea, who had studied with Tarrega.
The evolution of right hand technique that I use comes from this lineage or school.
This RH technique is based upon a contact point of the forearm on the guitar which is fairly close to the elbow.This is the hinge point.
If you position your forearm this way the entire forearm,hand and fingers will form an arc.
With this arc your hand will hang in a curve.When plucking the strings the RH fingers will feel as if they are coming from underneath the strings
rather than from above.It is difficult to describe and I fear that even with modern video technology just as difficult to see properly.
Although the refinement of the RH position today is less exaggerated than the past , the arc is still present.
Ricardo Iznaola still uses the Tarrega position without any issues of tension or destruction of the playing mechanism.
But it could be that this is the luck of a physiology that can withstand this approach rather than an approach that is considered 'natural'.
I don't believe that a player's physical characteristics matter as long as the point of contact by the forearm produces the arc.
As I was taught, tone is achieved first with the flesh pad of the fingertip making contact with the string
and finished with the nail angled to release the string as quickly and smoothly as possible.
The first goal is to produce as much string vibration as possible.This means as much noise as possible.
I spent the first two years of lessons being urged and rewarded for producing what seemed to me to be an horrendous tone.
What I didn't realise was that volume comes first, refinement towards good tone comes second.
Beautiful tone and warmth of expression is meaningless if they can't hear you beyond the 3rd row.
My teacher, like Tarrega , gradually reduced the length of his fingernails down to the barest of minimum.
If you look at his hand you will see that there is only a tiny bit of nail on the left side of his RH fingers.
Yet he can play with tremendous volume and range of expression.I can personally attest to this having
seen him play with full orchestra in acoustically poor halls seated far from the front rows.
I enjoyed this videos very much and would like thank JFD for posting them.