guit-box wrote:Clearly Shearer has been proven to be way off base on a lot of technical issues, so the Shearer approach of finding one correct technique is a flawed approach.
This is a misrepresentation of the Shearer method. He didn’t advocate “one correct technique.” It’s more accurate to say he offered students the tools to decide for themselves what works best.
A few examples: In his 1990 method he illustrates five different nail shapes, some of them radically different from the others. He also describes ways to adjust your seating position to best suit your own particular physique. Indeed, his method is peppered with admonitions to experiment intelligently. Here’s one direct quote: “Cultivate a sensitivity to counterproductive tension. Experiment by slightly altering the sideways position of your elbow, the rotation of your forearm, and the arch of your wrist. Practice freely altering these positions to determine the position of greatest strength and ease for your left-hand fingers.” I could cite many others.
guit-box wrote:It’s highly valuable to study the great players and realize there are multiple ways to play the guitar. There may not be many players using the Ida Presti technique but there are players from the present and past who use this approach with great success, so it’s a valid technique and someone on the forum may find it works best for them.
What’s often ignored is the risk one takes when adopting unorthodox technique. How many concert artists quietly drop from view after suffering debilitating injury? Further, across many disciplines, you’ll find that the higher the skill level, the more uniform the technique. For example, watching weekend warriors playing on an outdoor basketball court, you’ll see a bewildering hodgepodge of shooting motions—watching an NBA game, the variety is far smaller. Finally, people often overlook that even apparently unorthodox playing often cleaves to good biomechanical principles. I recall when Paul Galbraith first hit the scene, some took pleasure in citing him as proof that guitar teachers are stuffy dogmatics who pedal narrow-minded rules. The reality, however, is that Galbraith flouts no fundamental principals of ergonomic playing. His playing position is biomechanically sound, as any competent guitar teacher will confirm. Indeed, why wouldn’t it be? Cellists have been using this position for generations.
There’s more to evaluating technique than merely cataloging what this or that concert artist does. A census isn’t the same as intelligent examination.
South Euclid, OH