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es, CC and Moreno deal with it by obviously playing only downstrokes..
I think also electric guitar is important in that case - some hammer ons do much more effect on accent and phrasing than down or up stroke whicj can be almost unnoticeable on loud amp
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12-07-2018 08:54 AM
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Originally Posted by Vladan
It is a goal for some guitarists.
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Originally Posted by Hep To The Jive
So you always keep your wrist in a high position where your finger misses the adjacent string on the stroke. When I received lessons in classical technique I was told to keep my wrist very high - so high that I couldn’t actually play apoyando if I wanted to.
I think this might be a certain school of technique, but maybe not. (It could be just those lessons aiming to stop me from collapsing my wrist and playing from the wrong joints.)
(This is exactly why, btw, the gypsy jazz upstroke is a free stroke.)
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Originally Posted by Jonah
My idea was not that, and I've never said, all notes should be even.
On the contrary. I have said that it is wrong to understand facility of being able to "play up strokes and down strokes evenly" as "all notes should be even".
It should be understood and discussed as a goal, which is to be able to play a set of notes, no matter how different they are, regardless of picking direction.
Obviously, some specific techniques, like arpeggio sweeping, as well as techniques where notes are not being picked are not subject of my comments.
Yes, of course you should use natural qualities as advantage, but you definitely should overcome them, because they can be disadvantage.
You do not want to come to position where you'll be ... bummer, I'd really to play something here, but I can not, because it does not naturally fall on down stroke ...
That is the basic premise.
I do not think anybody is in full control over own playing all of the time. Especially not in Jazz. It is actually quite natural, thus common, to let go to natural predispositions. However, one should be able to regain control in shortest amount of time, without being restricted by picking direction.
As for the rest of your discussion,m I actually agree.
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Originally Posted by guitarbuddy
I still think force is the wrong way to think about it. Gypsy players are very relaxed for instance.
The downstroke doesn’t require any muscular force. Gravity is on your side and your forearm is heavier than you think. You actually have to release muscles to make the downstroke happen.
The rest stroke stops this free and natural movement on the next string so you don’t simply strum all 6 strings. At first it feels like your playing is uncontrolled. But that’s where the power comes from.
Students often find this quite difficult! Not because it’s hard to do, but rather because they are so used to inhibiting and controlling those movements for accuracy in other styles of picking.
They are so used to making notes happen.
The muscles engage to prepare the next stroke by lifting the arm. In combination with a slight wrist rotation this gives you the upstroke.
But there should never be any muscular exertion beyond the bare minimum to make that recovery stroke. You should never feel like you are pushing the notes out.
That’s why downstrokes can’t balance upstrokes for this technique btw. Because we live on a planet. On the Space Station, I think rotational alternate picking is better.
I wonder how it affected Chris Hadfield’s strumming?
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Originally Posted by Vladan
I just do not know - really do not know - where the line is between using our natural qualities and supressing and overcoming it... and which ones...
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Originally Posted by Jonah
Tbh different players draw the line in different places.
In fact, I make a lot of decisions on left hand fingering based on what is easier and natural to play phrasing wise with my right hand.... I think some players would even see that as a compromise, but for me it’s ‘what gets the job done.’
I think the limitations and strengths of my picking style are factored into that.
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Originally Posted by christianm77
Also it was taught immidiately in mixed form - when you play melody on top string appoyando with your ring finger and the accompaniment with other fingers tirando...
But maybe a different school really...
I have not played real classical guiatr for more than 20 years now... when I play nylons today I use romantic guitar technique.. where appoyando is truely possible only with a thumb
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Originally Posted by christianm77
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Originally Posted by Jonah
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Which is romantic technique
It's like baroque lute approximately... usually without nails. It works better on romantic guitar...
If I have to play modern classical guitar this way I take very good strings and drop it all down half-step then it sounds...
It's not the only technique for romantic guitar but it became more or less conventional today fro this type of guitar...
Rob plays this way... I think he actually plays this same way all the instruments he play in his video.
I think this works fine on uke... I believe biggest part of popularity of Shimambukuro (beyong promotion an dall that exotic thing to play Queen on uke and all) is his rythm and very good touch..
you can hear it when he plays unplugged...
(because otherwise there is nothing special in it...)
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Originally Posted by Drumbler
Aria EA-650 pickguard question
Yesterday, 02:38 PM in Guitar, Amps & Gizmos