Right hand technique: a new perspective

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Larry McDonald
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Re: Right hand technique: a new perspective

Post by Larry McDonald » Sun Apr 07, 2019 7:15 pm

Hi Scott,
When I review videos of tremolo work sent to me by my students, one of the things I do as part of my evaluation is slowing it down to 25%.
I did this to your last video, and I encourage you do so as well. Remember, the evenness of the tremolo is determined by the length of each note, which is determined by when the next finger touches the string. This becomes obvious when you play a tremolo on one string. I would look forward to a one string tremolo video.

All the best,
Lare
Dr. Lawrence A. McDonald, D.M.A., Art Kaplan Fellow
Author of The Conservatory Tutor for Guitar
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Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Sun Apr 07, 2019 8:18 pm

Larry McDonald wrote:
Sun Apr 07, 2019 7:15 pm
Hi Scott,
When I review videos of tremolo work sent to me by my students, one of the things I do as part of my evaluation is slowing it down to 25%.
I did this to your last video, and I encourage you do so as well. Remember, the evenness of the tremolo is determined by the length of each note, which is determined by when the next finger touches the string. This becomes obvious when you play a tremolo on one string. I would look forward to a one string tremolo video.

All the best,
Lare
Thanks Larry, I will do that!
Ortega wrote:
Sun Apr 07, 2019 6:35 pm
Silver bullet found; this makes the discovery work correctly!

I did hit upon this a few weeks ago but took a wrong turn after I remembered that a guitarist told me something different; that this was wrong. Clearly it is correct after all!:



(Those are all different takes, by the way)

One guitarist told me that although I was correct about the tip joint being the sole activator, the secret is in not activating the tip joint too early.

 That is false! The secret is in activating the tip joint early *enough*, in order to prevent either or both of the 2 larger joints from taking over the tip joint's solitary role of bringing the finger to its string!

Especially crucial for the finger that follows p or is used simultaneously with p whichever the case!

It is just that the timing was wrong; it's the opposite of what one might think!

The clip linked in this post is definitive proof that my discovery is correct; the tip joint does everything, all techniques! Timing ("earliness" parameter) is crucial, as explained in this post's clip!
Here's the final/ definitive discovery clip!

What I say "final" I mean that there will be no more changes with respect to the technique axioms.

As things begin to gel and solidify for me, I may release future discovery videos with more solid playing, but this is definitive with respect to the explanation of the discovery and the presentation thereof!:



Each of these Malaguena tremolo excerpts are separate takes. Clearly the gallop that was there is diminished to an extraordinary degree, proving the validity of the discovery.

Now to override 37 years of neurological bad habit (playing as taught)! :)

musikai
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Re: Right hand technique: a new perspective

Post by musikai » Sun Apr 07, 2019 8:53 pm

Why does your i finger move so much but the a and m fingers do nothing?
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Re: Right hand technique: a new perspective

Post by Ortega » Mon Apr 08, 2019 3:47 pm

Larry McDonald wrote:
Sun Apr 07, 2019 7:15 pm
Hi Scott...

...the evenness of the tremolo is determined by the length of each note, which is determined by when the next finger touches the string. This becomes obvious when you play a tremolo on one string. I would look forward to a one string tremolo video.

All the best,
Lare
Here you go Larry!

I will be able to maintain this for longer periods without reverting back to the incorrect technique that I was taught (beginning in 1982) as I become more secure with applying my discovery, which presents the only correct way to use the right hand on the classical guitar.

All the great players are doing this, it's just that few if any realize it. At least they have not until now, as I have been sharing my discovery with them:



I tried so hard for 37 years to "keep the main thrust coming from the large knuckle"; all of my teachers taught this in one variation or another. It is100% false; the main knuckle joint desists at all times, as does the middle joint.

Again, I want to point out that I am very fond of all of my former teachers, most especially Bill Kanengiser at USC, who never ruled anything out and encouraged me (and all of his students) to search within to find the correct way.

None of my great former teachers can be blamed. I was so fortunate to be able to study with each of them, most especially Bill. They came to their brilliant technique naturally (at least with respect to what I'm talking about here).

There is a clear neurological illusion which led them to believe that they were activating their two larger joints when they were not/ are not.

No one can be blamed for this! Someone like me had to come along; someone who is obviously NOT a natural talent (🤣), but for various reasons was able to figure this out. :)
Last edited by Ortega on Mon Apr 08, 2019 4:01 pm, edited 1 time in total.

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Denian Arcoleo
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Re: Right hand technique: a new perspective

Post by Denian Arcoleo » Mon Apr 08, 2019 3:52 pm

Ortega wrote:
Mon Apr 08, 2019 3:47 pm

There is a clear neurological illusion which led them to believe that they were activating their two larger joints when they were not/ are not
Seems to me you're practicing what guit-box preaches.

musikai
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Re: Right hand technique: a new perspective

Post by musikai » Mon Apr 08, 2019 6:09 pm

musikai wrote:
Sun Apr 07, 2019 8:53 pm
Why does your i finger move so much but the a and m fingers do nothing?
The Scott Johnston Tremorlo.png
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Lawler
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Re: Right hand technique: a new perspective

Post by Lawler » Mon Apr 08, 2019 9:17 pm

Scott, that's a great picture of you in the Youtube thumbnail I've seen recently. Was it professionally done?

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Tue Apr 09, 2019 7:21 pm

Larry McDonald wrote:
Sun Apr 07, 2019 7:15 pm
Hi Scott...

...Remember, the evenness of the tremolo is determined by the length of each note, which is determined by when the next finger touches the string. This becomes obvious when you play a tremolo on one string. I would look forward to a one string tremolo video.

All the best,
Lare
This one is longer, with crucial sub axiom expressed:


musikai
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Re: Right hand technique: a new perspective

Post by musikai » Tue Apr 09, 2019 8:23 pm

Good luck!

Adam del Monte has a good video about how to become better with Tremolo and how practise to overcome technical hurdles and plateaus.
Last edited by musikai on Tue Apr 09, 2019 8:56 pm, edited 1 time in total.
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Re: Right hand technique: a new perspective

Post by Crofty » Tue Apr 09, 2019 8:36 pm

Ortega wrote:
Tue Apr 09, 2019 7:21 pm

This one is longer, with crucial sub axiom expressed:

Which crucial sub axiom were you expressing there Scott? I wasn't very clear as to what I should be listening for.

Paul

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Wed Apr 10, 2019 8:15 pm

Larry McDonald wrote:
Sun Apr 07, 2019 7:15 pm
Hi Scott...

...the evenness of the tremolo is determined by the length of each note, which is determined by when the next finger touches the string. This becomes obvious when you play a tremolo on one string. I would look forward to a one string tremolo video.

All the best,
Lare
Better still, as I become gradually more secure with applying the discovery, which really became complete on 4-8-19 at 4:20 p.m. when I realized that I must combine the notion of ensuring that the i finger's tip segment is relaxed away from the palm at all times when the i finger is not in use, with the application of the "earliness" parameter as specifically applied to the finger that follows p (or is used simultaneously with p, whichever the case) as explained in this clip.

This is all done in order to ensure that neither of the 2 larger joints take over the tip joint's solitary role of both bringing the finger to the string and plucking the string:



*Do not misunderstand. I am saying that when p actually plucks its string, the finger that follows p begins contracting its tip joint, beginning to bring that finger toward its string.

This must begin happening during the actual strike of p, to ensure that the finger that comes immediately after p is brought to the string only through the sole activation of the that finger's tip joint.

Obviously when p and another finger work together to produce simultaneous plucks, all of the above is simultaneous, including the strikes themselves...

We must ensure that only the tip joint's contractive action, even when p and another finger work simultaneously, is that which brings the finger to the string.

Ortega
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Re: Right hand technique: a new perspective

Post by Ortega » Thu Apr 11, 2019 2:42 pm

Crofty wrote:
Tue Apr 09, 2019 8:36 pm
Ortega wrote:
Tue Apr 09, 2019 7:21 pm

This one is longer, with crucial sub axiom expressed:

Which crucial sub axiom were you expressing there Scott? I wasn't very clear as to what I should be listening for.

Paul
Thank you, Paul.

It's the first thing that I mention, in the shot where I wear the darker blue shirt. Simply combine this with what I advise in the frames that follow, in which I am wearing a lighter blue shirt.

The sub axiom expressed when I am in the dark blue shirt was the missing element.

Its absence was responsible for my poor prior attempts to prove my discovery, which has in fact always been correct (but incomplete until the addition of said sub axiom).

It is not by any means easy to apply both of these axioms, but if you do, everything is unleashed...


musikai
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Re: Right hand technique: a new perspective

Post by musikai » Thu Apr 11, 2019 5:52 pm

Ortega wrote:
Thu Apr 11, 2019 2:42 pm
It is not by any means easy to apply both of these axioms, but if you do, everything is unleashed...
Hi Scott.
Here is what you play slowed down:
Gallop.wma


This is rhythmically what you play (but notated with a different bass):
The Scott Johnston Tremorlo_0001.png
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Re: Right hand technique: a new perspective

Post by Ortega » Mon Apr 15, 2019 5:05 pm

 Prior to this single string tremolo clip, there was still one element missing from the discovery; that is what was causing my prior clips to be poor or less than perfect (this is explained below).

I hereby challenge any guitarist on earth to dispute my discovery (all aspects thereof), prove it to be wrong and execute the tremolo on a single string utilizing ANY technique other than that which I am describing.

The dissenters are the ones who are deceived, not me; they are under the spell of the neurological illusion that I have identified.

 If guitarists continue to dispute these findings, they are under the spell of the neurological illusion that I keep talking about (if they are a virtuoso, that is).

If, on the other hand, they do not play well (which is true of many of my dissenters) then, well...there it is!

 No one can dispute this; the technique at the beginning of the clip is very difficult to do and many (even many professional guitarists) cannot execute a good single string tremolo.

This proves beyond a shadow of a doubt that my discovery is 100% correct. I have reverse engineered the ONLY correct way to use the right hand for classical guitar technique. It is the way that all true virtuosos are using their right hands, it is just that they do not realize it.

 Identifying what is actually happening is extraordinarily elusive, especially for those who do it naturally!

 Please know that I say this in all humility. Even though I may not sound humble, it is clear to me I have not yet reached my full potential. The fact that I'm able to execute as I am doing on this clip proves that I have discovered the one true path to right hand virtuosity.

 This represents a very great gift to the guitar world on so many levels and I am sincerely humbled that it has come through me.

There is NOT more than one path to right hand technique. As with any art form, there are many facets of playing the classical guitar which are completely subjective and must be self tailored to each individual guitarist.

 Some facets of playing the classical guitar might differ radically from one guitarist to another.

This is NOT one of those facets; this is the only way. Period!

There was a gallop in the tremolo example at 7 minute 7sec mark. That example (and the one immediately after it) was made prior to my realizing that the tip joint must begin bringing the a finger to its string during p's strike.

I have removed the gallop below.

 If we ensure that the tip joint's contractive action is solely responsible for both bringing the finger to its string and plucking its string, and if we also ensure that the finger that follows p begins being brought to its string DURING the actual strike of p, the gallop is eliminated.

 The other crucial element is to ensure that all the fingers' tip joints are allowed to relax out, all the way, away from the palm when not in use; especially important for the i finger, which is the neurological leader of the others.

 The single string tremolo at the beginning and end of the video was possible only with the application of these 2 revelations.

 No metronome is needed, nor is it at all useful for tremolo practice on the micro level. The metronome is a fantastic tool on the macro level for maintaining the overall pulse of a given piece, and for many other applications, but it is worthless and useless as a tool on the micro level, for trying to even out the four subdivisions of the tremolo beat itself:


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petermc61
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Re: Right hand technique: a new perspective

Post by petermc61 » Mon Apr 15, 2019 7:16 pm

I have to grant you one thing - you really do believe your own rhetoric. I just don’t have any idea why you are so confident (but please, don’t repeat anything you’ve said before. I don’t need repitition to convince me, I need evidence).

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