Neither Manuel Barreuco nor Roberto Aussel are exclusively free stroke players, which is the subject of this thread. Further, the Barrueco quote is lifted from a response to a student who claimed that rest stroke was unnecessary, as free stroke could do everything that rest stroke could do. Barrueco disagreed. Unfortunately, this quote originally appeared on the GFA website but is now no longer available there.guit-box wrote:http://en.wikipedia.org/wiki/Classical_ ... s_Apoyando
I found this list of players who primarily use free stroke.
Why do you believe that legato can't be done equally well with either rest stroke or free stroke? There's nothing about rest stroke that makes it inherently less legato than free stroke.Leitmotiv wrote:Apoyando does have the drawback of being less free-flowing ; above all, melody needs a solid legato.
Why guitarist or composer would want to limit yourself voluntarily? Why somebody would deny possibilities of extra colors in sound ?guit-box wrote:I've heard in passing at least a couple times that there are schools/teachers that discourage the use of the rest-stroke. Does anyone know the specifics of this and what teachers advocate using only free stroke? What is the reason? I can imagine that it would make your right hand more consistent since it only needs to have one positions for every stroke, but I can also imagine the performances would sound more keyboardistic than traditional classical guitar or flamenco guitar technique.
Simple, yes--but a profound insight.AndreiKrylov wrote: And when we limit ourselves only in one, identical style of handwriting/ playing when we loose our individuality, and then that's why Mel Hallam hears so many guitarist sound "sound so sterile, thin and even monotone" exactly because in the process of years study they becoming sterilized... it happens on subconsciousness level - limitation of movements=limitations of emotions...
That is my simple explanation...
The irony of this, as you surely know, is that many of the fastest and most precise players use rest stroke. It certainly hasn't hindered Pepe Romero.AndreiKrylov wrote:Free stroke school is widely taught everywhere especially in Europe, I know it is taught in Sweden and in some places in Germany and people who studied in those universities shared it with me. The main argument of this school is basically speed and precision - guitarist using this technique can play faster and more precise and concrete sound (as they said).
Robin, Wayne, Tom, Thanks for your respond to my post in this theme !Tom Poore wrote:The irony of this, as you surely know, is that many of the fastest and most precise players use rest stroke. It certainly hasn't hindered Pepe Romero.AndreiKrylov wrote:Free stroke school is widely taught everywhere especially in Europe, I know it is taught in Sweden and in some places in Germany and people who studied in those universities shared it with me. The main argument of this school is basically speed and precision - guitarist using this technique can play faster and more precise and concrete sound (as they said).
I've never understood this ongoing campaign against rest stroke. Second tier players sometimes spin theories on how, with the right kind of free stroke, one can "almost match" everything that rest stroke can do. (Tellingly, there's often an "almost" in everything said or written about the interchangeability of free stroke and rest stroke.) Fortunately it seems to have no effect on great players. That's not surprising. Second tier players rely on theories—great players rely on their ears.
South Euclid, OH
Albert Camus was a great thinker and writer and it seems like you following his ideas about absurd to the letter : you limit your way of expressing yourself to reach limitless expression... that's sound totally Camus' and very logical to the logic of absurd, which is very interesting logic but is it really attachable to the guitar playing? I use apoyando and use tirando all the time as I feel applicable and you could listen it (I have tons of music available on WWW, more than 50 albums) . I wonder if you could present your playing of something so we could hear, maybe even Romanza for example, using only tirando and if it will be the same or better without apoyando, then maybe you will prove your point about technique. I think this will be good way to continue this subject.Leitmotiv wrote:In the above postings, people are pretty much asking "why limit yourself; why shun apoyando?". All I can say is that the possibilities/horizons are limitless... but only through tirando. Now, I've never had much in my life that was mine and mine alone, until I discovered this way of expression; this 'free stroke'. That's what puts guitar up there with any instrument used successfuly in art music performance.
As I said before, I do use apoyando. And are the guitarists who use it so sparingly less than complete? Well, that depends. It depends; how deep how broad their tirando.