Let us tear all the techniques walls

Classical Guitar technique: studies, scales, arpeggios, theory
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danbidouch
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Let us tear all the techniques walls

Post by danbidouch » Mon Apr 06, 2009 12:17 pm

I think the classical guitar technique could be enriched by borrowing tricks from the other two basic techniques Flamenco and Fingerstyle.

Ex From Flamenco: the strong right hand development (rasquaedos, fast tremolo apoyandos etc...)

Ex From Fingerstyle: The optional use of a thumbpick, the finger knuckle squash (one finger hitting two notes on 2 differents frets), the LH power grab with the left thumb hitting the 6th string, the fwd rev brush strokes, Bass notes thumb or pipi alternation , hinge barre (with the RH 3rd finger) etc…

One can enjoy listening to any of these 3 techniques wnhen played by a good performer.

(I wonder if a unified technique will eventually develop for guitarists, similar to what violinists seem to have already).

Quiz: Why do most fingerstyle guitarists play steel string guitar? ans: because they can…

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Erik Zurcher
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Re: Let us tear all the techniques walls

Post by Erik Zurcher » Mon Apr 06, 2009 12:39 pm

Isn't it the other way around? Fingerstyle guitarists should enrich their music by using classical technique!
Reedition Domingo Esteso by Conde Hermanos 2004; Kenny Hill, model Barcelona 2001
"While you try to master classical guitar, prepare for a slave's life: the guitar will forever be your master and you its slave".

Azalais

Re: Let us tear all the techniques walls

Post by Azalais » Mon Apr 06, 2009 1:17 pm

Let's also include include some of the tips & tricks that have been revived from Early Music, that are used by H.I.P. pluckers:

dedillo (a vihuela technique using rapid inward and outward movement of the first finger, still used by Portuguese guitarists).
Dos dedos
figueta castellana (thumb out)
figueta estranjera (thumb under)
hinge barres,
half barres,
barres that use one finger to cross over and stop two or more notes on 2 different frets
barres that fret some notes while letting other intermediate open strings sound freely
very light rasqueado (sometimes used over the fingerboard instead of the top)

Here is a great website (Ralph Maier) that describes and demonstrates some of them:
http://www.ralphmaier.com/index_files/Page318.htm

nightwind

Re: Let us tear all the techniques walls

Post by nightwind » Mon Apr 06, 2009 1:20 pm

Azalais wrote:Let's also include include some of the tips & tricks that have been revived from Early Music, that are used by H.I.P. pluckers:

dedillo (a vihuela technique using rapid inward and outward movement of the first finger, still used by Portuguese guitarists).
Dos dedos
figueta castellana
figueta estranjera
hinge barres,
half barres,
barres that use one finger to cross over and stop two or more notes on 2 different frets
barres that fret some notes while letting other intermediate open strings sound freely
very light rasqueado (sometimes used over the fingerboard instead of the top)

Here is a great website (Ralph Maier) that describes and demonstrates some of them:
http://www.ralphmaier.com/index_files/Page318.htm
I'm not sure I get it. We do in fact employ most of these.... ?

Azalais

Re: Let us tear all the techniques walls

Post by Azalais » Mon Apr 06, 2009 1:49 pm

nightwind wrote:I'm not sure I get it. We do in fact employ most of these.... ?
If you've already mastered all of them, you're way ahead of me... (sorry for wasting your time).

GuitarVlog

Re: Let us tear all the techniques walls

Post by GuitarVlog » Mon Apr 06, 2009 2:54 pm

More fingerstyle and flamenco guitar players should be using a footstool or a guitar support. :wink:

dcarlso3

Re: Let us tear all the techniques walls

Post by dcarlso3 » Mon Apr 06, 2009 3:15 pm

danbidouch wrote:Quiz: Why do most fingerstyle guitarists play steel string guitar? ans: because they can…
Correct answer: Because they can't get a decent tone from a nylon string

nightwind

Re: Let us tear all the techniques walls

Post by nightwind » Mon Apr 06, 2009 6:11 pm

Azalais wrote:
nightwind wrote:I'm not sure I get it. We do in fact employ most of these.... ?
If you've already mastered all of them, you're way ahead of me... (sorry for wasting your time).
Your sarcasm is bland, why do you need to take up that attitude with me?

The topic is that of letting other techniques be adopted by CG. Most if not all of those techniques you mention are in as common use as the music allows.

orchman

Re: Let us tear all the techniques walls

Post by orchman » Tue Apr 07, 2009 10:45 am

danbidouch wrote:Quiz: Why do most fingerstyle guitarists play steel string guitar? ans: because they can…
I am an intermediate CG performer and an advanced fingerstyle guitarist. I suspect the reason fingerstyle guitarists play steel string guitars is the genre calls for that timbre, rather than the timbre of nylon strings...

Acoustic music either in the folk or pop genre sometimes calls for the timbre of steel strings and I need all those techniques in my "quiver" in order to make a living.

I borrow whatever techniques I need to make a song beautiful... :-)

Steve

orchman

Re: Let us tear all the techniques walls

Post by orchman » Tue Apr 07, 2009 10:51 am

dcarlso3 wrote:
danbidouch wrote:Quiz: Why do most fingerstyle guitarists play steel string guitar? ans: because they can…
Correct answer: Because they can't get a decent tone from a nylon string
Rather than take this as parochial sarcasm, I'll offer another joke...

What's the difference between a violin and a viola?

Viola burns longer...

:-)

Play nice, peoples!!!

Steve

PS I *can* get a good tone from a nylon string... :-P

orbiterred

Re: Let us tear all the techniques walls

Post by orbiterred » Tue Apr 07, 2009 2:52 pm

Azalais wrote:Let's also include include some of the tips & tricks that have been revived from Early Music, that are used by H.I.P. pluckers:

dedillo (a vihuela technique using rapid inward and outward movement of the first finger, still used by Portuguese guitarists).
Dos dedos
figueta castellana (thumb out)
figueta estranjera (thumb under)
hinge barres,
half barres,
barres that use one finger to cross over and stop two or more notes on 2 different frets
barres that fret some notes while letting other intermediate open strings sound freely
very light rasqueado (sometimes used over the fingerboard instead of the top)

Here is a great website (Ralph Maier) that describes and demonstrates some of them:
http://www.ralphmaier.com/index_files/Page318.htm
no sarcasm/ill will intended at all, but aside from the thumb out and thumb under (not sure i understand those two) i was under the impression that these were all fairly standard, commonly used techniques, especially the barring ones. The first two things i teach about barring are the 4 things you mention as i feel they represent the foundation of a good bar technique, namely don't apply more pressure then you have to, anywhere.

orbiterred

Re: Let us tear all the techniques walls

Post by orbiterred » Tue Apr 07, 2009 2:58 pm

in the article he describes the dedillo as an unused technique in todays performances, and maybe my understanding of it is wrong, but Cuban Landscapes with Rain (Brouwer), Sakura Variations, and Brouwers interpretation of some of the piazolla stuff immediately springs to mind, ralph towner also makes use of it.

Azalais

Re: Let us tear all the techniques walls

Post by Azalais » Tue Apr 07, 2009 6:07 pm

Thank you orbiterred! [I was obviously seduced to the Dark Side before I got far enough into CG to learn them on the guitar. :oops: ] I appreciate the examples.

orbiterred

Re: Let us tear all the techniques walls

Post by orbiterred » Wed Apr 08, 2009 2:25 am

no problem :) would you mind explaining the:

figueta castellana (thumb out)
figueta estranjera (thumb under)

?

guitaradelic

Re: Let us tear all the techniques walls

Post by guitaradelic » Sat Apr 11, 2009 12:22 am

Refering to the original post, if other techniques are adopted: 1) is it still CG? 2)if it is CG, why do you need other techniques?

I am studing CG to enhance my "regular" guitar playing, but I don't know if I would want to, for example, use a pick of any kind for classical guitar. Seems out of place, call me a purist.

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