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Hopefully not sarcastic. Ironic? His skill is pretty astounding and Rick Beato discussed it with him on his channel. I was pointing out what I thought was a Classical guitar no-no, which is not addressing the strings at right angles, but it was only to contrast with, and emphasise his remarkable skill at picking the melody. Sorry for any confusion. Humour should occasionally be dry, maybe not. (I did point directly to you in my other post though )
Right; that was my immediate impression as well. I am all for dry humour, but had a pang of insecurity about possibly missing some baroque forum-insider reference
That said, he does use a lot of legato (which, with that guitar and setup, sounds very much the same as picking the note) in these runs, so the runs sound even more impressive than they are already.
While he is great and impressive, this novel thing of the right hand (requiring the mute) is interesting in the same way Stanley Jordan was interesting. He did the college circuit and I got to see him and was like "this guy is so great, and doing this low level gigs??", despite the public praise by Edward Van Halen etc., he did not become the future inspiration of guitar kids or a house hold name in jazz etc. Not to take away from Mancuso, but it does not inspire me (even a guy that could play finger style on electric) to do such a thing. I prefer the basic scalar lines of his left hand frankly and am semi interested in picking that out (though it sounds like several other Mike Stern etc. type stuff maybe).
As for players that need that mute thanks to whatever the heck their right is doing that is interesting (Jennifer Battan was another), my favorite weird technique guy (by far) is Gabriel Guardian:
this novel thing of the right hand (requiring the mute)
quote:
I didn't even notice this
What? I still haven't. I can't help but feel I'm missing something. It did take me quite a long time to distinguish stereo from mono so it's possible.
Removing the brackets, is this saying that the LH is muting the note played by the right? - that the notes will ring out marginally more if it weren't for the LH muting? If not, I am raising my wtf flag high here.
Adam Fulara - re Variation no. 1 - just what you'd hope an electric guitarist wouldn't do to a piece, and did. Jazzers do it too, as with Cherokee. In this case, as above, the length of the notes is governed by how long he plays them for, or how long his fingers sit on the fret. I'm not hearing damping.
Gabriel Guardian - sorry, novelty performer. Anyone who wants to play Queen didn't hear Astronome Domine first.
As we're posting, I think this guy is great (maybe a bit pentatonic).
Do flamenco guitarists do the slipping thing onto lower strings when playing a descending passage, using the same finger, or will it always be alternate? Serious point (probably the only one).
The cloth or whatever it is between the nut and the first fret - I am not sure exactly how it works but apparently it is used to dampen only the high-frequency squeaks you hear most clearly (even overwhelming the actual tapped note) when tapping higher up the neck on a guitar with metal strings.
The cloth or whatever it is between the nut and the first fret
Ah. Yes. Thanks, I see it now. It seems to be quite ubiquitous.
AI points to : 'A string dampener/fret wrap is a muting accessory used to prevent unwanted sympathetic vibrations and noise from open strings, resulting in a cleaner sound, especially during techniques like tapping or slapping. '
Kevin Glasgow uses one here, a couple of minutes in.
used to prevent unwanted sympathetic vibrations and noise from open strings,
The fact you guys had to AI that or not understand nor even notice this thing tells me you guys have NEVER performed loud music with guitar in hand before. By loud I mean your guitar can be clearly heard over a full rock drum kick with your guy banging the skins like he was John Bonham. That is without them miked through a PA, as in the basement garage or small theatre. Or if you have, you never noticed how your right and left hand do the juggling act to control that issue? If Mancuso had studied Niño de Pura picado he would observe the option to dampen with the thumb. In fact seeing him do what he does (Pura aka Daniel Navarro of Cadiz), I assumed that he must have played very loud at some point to develop that. When I am on stage (piezo plug-in) with band vs restaurant and theatre I almost have to do that same thing.
The dragging the finger is a cheat or a skill depending on your view point. IN flamenco we enjoy the inconsistency of that sound for pulgar in the opposite direction of the apoyando finger stroke. As for running basic scales this luxury is not available in the ascending direction hence, if you want consistent speed and tone it is best to develop (I would say it is essential) strict alternation, reserving the finger drag for special cases only. You don't want to develop fast scales descending only, and your ascending scales never have the same speed as those. (Rafael Cortes had a famous run that could only go down at the tempo he demonstrated, basically a nice "trick" for a specific application). Paco de Lucia taught us that if you want speed and control and consistency, better to develop the strict alternation.
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