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RE: Stretch between fingers 2 and 3?
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Ricardo
Posts: 14841
Joined: Dec. 14 2004
From: Washington DC
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 RE: Stretch between fingers 2 and 3? (in reply to Richard Jernigan)
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quote:
ORIGINAL: Richard Jernigan
Isaias Savio, in his introduction to "Francisco Tarrega, Doce Composiciones," says that Tarrega played with nails until near the end of his career, when he was obliged to cut them due to defects arising from arteriosclerosis. (Tarrega was a chain smoker.)
"En 1900 su salud inspiró cuidados por manifestarse la arterio-esclerosis, y el maestro ya no pudo pulsar su guitarra con aquel sonido puro y cristalino que tanto había contribuído a sus éxitos, viéndose en cambio obligado a cortarse las uñas por defectos que en ellos aparecían. Pero no se desanimó por ello, sino que siguió estudiando y consiguió realizar audiciones, aunque no de mucha importancía, con buenos efectos de sonoridad."
The publisher Matanya Ophee told me that this echoes verbatim the entry in Domingo Prat's "Diccionario de guitarristas," which he re-published.
RNJ
I will have to dig up Pujol’s book again at my parents house, but the impression I was given was that he dealt with nails (suffered with issues, I assume due to failure to find the right shape) for a long time, but upon discovery that he could produce adequate sound (superior sound is the final opinion of the author) without them, he really pushed this on the students as THE pedagogy. I was frankly surprised what I remember reading, thinking he just did not know how to file flat, but obviously guitar players of his generation were playing with nails and he was advocating something very different. It does not make sense to me that if it was the very end of his career that he made this change (developing the callouses and type of attack required to convince students etc., this was “THE way to go” and not a compromise due to health issues).
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Date Nov. 6 2023 11:42:13
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Ricardo
Posts: 14841
Joined: Dec. 14 2004
From: Washington DC
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RE: Stretch between fingers 2 and 3? (in reply to Richard Jernigan)
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It just seems strange that – due to a physical defect– an entire pedagogy would be based on this. Although, as sort of analogous….no mystery my teacher changed his way to play in 2008 due to an injury. I consider my schooling to be “pre-accident” Nuñez technique (captured for posterity in 2004 by Encuentro, if people can still access that material). In 2022 in class, Gerardo does arpegio P-a-m, avoiding the index stroke for some basic thing….while some of us understood he meant for us to apply normal arpegio, some students where copying his F’ed up approximation of the arpegio. He laughed and was like “no no no!!” And then did it, best he could, like “normal”. I guess it could be that Tarrega’s adaptation to nailess playing was misconstrued by the next generation of Tarrega followers as a deliberate tonal technique concept, leaving not only Segovia, but perhaps other Tarrega students, doing things the “normal” way, having lived through an earlier period.
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CD's and transcriptions available here:
www.ricardomarlow.com
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Date Nov. 7 2023 13:02:22
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Ricardo
Posts: 14841
Joined: Dec. 14 2004
From: Washington DC
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RE: Stretch between fingers 2 and 3? (in reply to devilhand)
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quote:
Never heard of Segovia method. Obviously Segovia himself was influenced by Tarrega and his pupils. You can't deny it.
As I said earlier, he used the repertoire, but that alone is not a “method”. Methods involve technique and his filmed masterclasses more than demonstrate his teaching concepts (how could you claim never hearing about his Method/school of guitar playing????? Wow. He published tons of music scores to boot). Right off the bat the left hand is just as Andaluz as any gitano flamenco guitarist. He was not pushing it, as practically zero of his students pick up on it which I find amusing. So considering left hand tech, nails on the other hands, etc, yes I can easily deny a strong Tarrega influence. It is further amusing to me that people think that just because the flamenco guitar community at the same time did not publish music scores, that they did not have a “pedagogy”, and only the “classical” guitar community had technical things to impart on the flamencos, and nothing vice versa. Silly. However, Segovia’s opinion of flamenco guitar being noise certainly was part of the problem there.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 7 2023 13:15:49
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