kmurdick wrote: ↑
Sat Oct 14, 2017 3:25 pm
You have to admit though, that Ortega's tremolo is getting better. Mazakazu doesn't have a particularly good tremolo, IMO.
If you look at Kim's tremolo, you see the nice 'roll' of the fingers; sort of like a wave (Segovia's description). The problem with most tremolos is the that they fatigue quickly and sound uneven. For a good tremolo motion, we should probably be looking at aspects that allow for relief of the tension.
Sorry, I don't think Ortega's tremolo is any good at all and I believe he's approaching it wrong. I agree there is some element of just letting it happen, what you call a wave and what I've read Tennant calls "chunking", but that's similar to the argument that a persons free stroke is just there waiting to be uncovered by eliminating tension or putting the hand in the perfect position or whatever. It's not true, it takes time to develop by making the correct movements over months and years.
Here's the Kim video in slow motion. All the joints move, and they're all important, but it's middle joint that has the widest arc. The faster the tremolo goes the more fully extended the middle joint is (and also the large knuckle, MCP), she's kicking the joints out, not simply relaxing them back.
An eyewitness will often only see what he already believes to be true.