Why is the four note tremolo superior? Woudl RDLA soudn better with a four note tremolo They are very different in feel and purpose, I dont think they can be compared.Prominent Critic wrote:The A finger is obviously weaker than either I or M. Moreover, both I and M are more agile. In my opinion the best tremolo is PMIMI or PIMIM, if you use a four treble note tremolo, which as I have stated before is vastly superior to the old three treble note tremolo.
But if you use a three treble note, then I feel that either PMIM or PIMI is better than PAMI, because it eliminates the weaker A finger.
And the advice sometimes given to practice various different combinations as a regular part of tremolo practice makes no sense. You should TRY different combinations until you find one you want to stick with.
But having settled on that pattern, you should spend all of your practice time on just that pattern. Every repetition you do of some other pattern is one more repetition you could have done on your chosen pattern, and therefore is wasted.
I dont think that anyone argues that if something works for someone, it should be condemned. The point in a m i is that all fingers should be equally developed, nothing more.Rossa wrote:I am so glad that I returned from the wilderness and joined this forum.
I had it drilled into me at a young age that I must use my a finger and I was terrified I would go to hell if I didn't.
In spite of a promising start as a youngster I could not stick with it.
Years later after several intermittent efforts to return to this instrument I am back again and tentatively finding my way.
But losing my way on years past under a belief that I was no good because in spite of dedicated hours to develop tremolo with strict Pami and for fear that Pimi is some form of treason and with frustration at progress....
On my absence from CG I played bass and over the years felt comfortable with I m, I m a and settled many a time on I a. Or a I
So I am certain any shortfall on my tremolo is likely to have very little to do with strength.
In saying this I appreciate fine motor on cg is completely different to rest stroking on a bass guitar but there are relationships given the use of fingers and development of the hands
But for teachers out there be careful what and why you say and entrench in the minds of young students.
Comments above about p I makes perfect sense to me if it is natural and works well for the student.
Guilianis 120 arpeggios provide plenty of alternatives where a can be strengthened and any number of scales can be played with combinations including a.
Perhaps it is a saintly truth that for purists the tremolo must only be played p a m I but if a piece requires tremolo semi quavers at 120 BPM or above and if pi cuts it then pi it should be...
No offence to purists but I remain a student of some excellent teaching and a student from some flawed teaching.
It has taken me a long time to recover from my own failings and whilst many people subscribe to the idea of find a teacher. I think students need to also be aware that some alternatives are allowable and acceptable.
Many students entrust their lives in the teacher and how uplifting is it to see some of the comments above where a teacher took the liberty to suggest and endorse p I.