Soundminer wrote: ↑
Sat Sep 08, 2018 10:47 am
Good sir, please, just read KevinCollins immaculate post over and over again !! Also, a little gratitude towards posts like his or lack there of says a lot about you as a person in my opinion.
I don't think that it is particularly necessary to respond to every post though I agree that if you have made some [hopefully] helpful suggestions it's useful for everybody involved to get some feedback - whether to agree or disagree.
I've never been a fan of the special finger movements apparently required for tremolo that Richard Provost advises and that Kevin supports. To me it over complicates something that is essentially very simple.
Our fingers are in their mid-range position when at rest. If you tap [a table top for example] with one finger, very slowly then the return impulse from the extensors is fairly slight: the finger tip may be quite "happy" remaining on the table for a while.
However the FASTER that movement is made then the quicker the return that follows. It is an automatic reaction - almost as though the finger has received a small electric shock; and it is quite difficult to inhibit.
Plus, of course, if we want to play at speed, and use alternation to do so more efficiently, then it seems fairly obvious that the automatic return is something to encourage, not something to suppress. Yet suppressing that instinctive reaction is precisely what Provost advocates.
Tremolo technique, at it's fundamental level, is simply finger alternation; but it is actually made easier than would be the case with scales because for the most part one is alternating on a single string for quite long passages.
Ergo, in my view, anyone who has mastered basic alternation of all the possible variants of i, m and a, whilst observing and encouraging the natural return impulse of each individual finger, should have no more of a problem with tremolo than with any other alternation technique.
And when I say ALL variants I am including single fingers [a useful way to practice tremolo by the way] and all possible combinations. I actually vary typical tremolo slightly by playing m with p. So I would play p and m together, followed by a,m,i. That means the fingers are alternating as follows: m,a,m,i etc.
Although I practice that method, when playing a tremolo piece I would generally only add the m finger with the thumb at the beginnings of bars or when there is melodic movement.
One advantage is that, by highlighting the melody in this way, one can set a slower tempo than is typically the case. I tend to listen to the inside notes more to determine tempo. So, for example, the six note accompaniment to RDLA suggests to me a rather slower tempo than is typical. Limosnita slightly faster and Omagh faster again.
[Those are the only three I have played. The usual guitarist's lament - so much music, so little time....]
ps It's worth working out a really effective fingering solution for just the RDLA accompaniment and, once you can play it, either sing the melody over it or ask someone who plays a sustaining instrument [violin, oboe whatever] to play it.
What is absolutely essential though, with an exercise like this, is to treat the accompaniment with complete musical respect!