What do you mean by "flexion" of the middle and distal phalanges?Mark Clifton-Gaultier wrote: ↑Fri Jul 05, 2019 6:12 amThe immediately observable thing here is that the knuckle is definitely not vertically over the string being plucked - not even close. Is that what you meant?
The knuckle does bring the finger to the string after which I see the action described so often in Guitbox's right-hand technique thread i.e. flexion of the middle and distal phalanges simultaneous with extension of the proximal.
Close your fingers into a fist - this is flexion.lacatedral wrote:What do you mean by "flexion" ...
Open them up again - this is extension.lacatedral wrote:What do you mean by "extension" ...
On the index finger's approach, I'm also seeing extension of the middle joint while the knuckle flexes, so that the finger tip is approaching the string more perpendicularly to the guitar top than it would if the knuckle joint were acting alone. Hard to see if this is happening with the m finger as well.
kmurdick wrote: ↑Fri Jul 05, 2019 8:32 pmI don't think he should use a P rest stroke in this situation. It has a bad tone. Rest stroke with P is big thing these days, but a free stroke using the tip joint along with the other two P joints usually gives a better sound and is less tense. For example my students after the first week generally have a better P tone than your teacher. Your description of the free stroke in i and m is quite accurate. The stroke feels like a pendulum but it is actually an ellipse.
The ultra low wrist is very characteristic of South American players from Argentina, Chile etc. It has been so for many years.
I haven't noticed that, maybe because I am more connected to the classical world, rather than from the folk world. I know a bit more the Argentinian ones, and it doesn't seem to me they use too low wrist. They actually use it for the muting technique, which they rather use a lot, but when they are not muting the strings, wrist is not so low (eg Juanjo Dominguez). But I will pay more attention and check this.Denian Arcoleo wrote: ↑Mon Jul 08, 2019 3:08 pmThe ultra low wrist is very characteristic of South American players from Argentina, Chile etc. It has been so for many years.
Not conjecture, seeing is believing and proving. I'd go one step further and say that not only does the middle and tip joint flexion follow through (effectively plucking the string and sounding the note) but the large joint extending is also contributing to the plucking, it's helping the middle/tip joints flexion thru the string. So really, it's not the flexion of the large knuckle that does the plucking, that just prepares the finger on the string, the extension of the large knuckle along with the flexion of the other joints is what produces the sound. However, the holding power of the large knuckle on the string just before the note is plucked gives the stability to make it all happen.lacatedral wrote: ↑Fri Jul 05, 2019 4:11 amGreetings, this is a video I recorded today of my teacher, Victor Villadangos, playing an excerpt of Asturias. It may help others analyze right hand movements. It was recorded at normal full speed and then the video proceeds with the slow motion function.
He uses thumb rest stroke and then medium-index for the B string. I think the most notorious thing is that he, like many other professional guitarists, uses his knuckle joint to approximate the finger to the string vertically, then the follow through is done with the middle joint. After the string is plucked the middle joint attacks in a way that it makes an "oval" movement to reset itself, instead of a "pendulum" motion towards the palm of the hand.
But that's only conjectures I make in base of what I see.
He also commented me he uses the Carlevaro's Fijación (I think the english traslation would be something like "fixation" or "fixed finger") for his middle and tip phalanx.
and signs with: "An eyewitness will often only see what he already believes to be true."