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Originally Posted by AndreF
... there doesn't seem to be anything in your background description that would suggest you have had the opportunity in your life to master that technique. So, I'll go out on a limb and speculate that this piece may be at the root cause of your current state of mind.
That's a very difficult piece of music to pull off, and it has nothing to do with fretboard fingering. The tremolo technique, unless it's mastered, will always be a roadblock to advancing any further whenever it's required. It's one of those things, unfortunately, that looks a lot easier than it is when it's done well. Conversely, when it's not, it sounds awful, and nothing like Tarrega's intent. I'm guessing that, even if you had the best teacher sitting in front of you in your remote location, he or she wouldn't even be looking at your left hand. They would be focusing on right hand dexterity and evenness of tone production needed for that technique. And give you technical exercises to work on to develop it. Only when it starts to work would/should you be allowed to advance...So, if I were your teacher I would give you right hand tremolo technique exercises to work on slowly every day for 15 to 30 minutes. At the most. Steady as she goes.
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My background is that I've been playing (non classical) for over 55 years. I've had formal lessons for over 12 of those years in a variety of styles, but not classical. I've played and have utilized tremolo fingerstyle for quite a while, but I must confess that Recuerdos is a challenge and taxes me. That is why the book I mentioned does focus heavily on exercises to further advance right hand tremolo technique. I chose Recuerdos for exactly the reason that it is a challenge for me, but also because I think it is a beautiful "ditty."
When I start work on a piece it must contain the two points of being a beautiful piece that truly interests me (or I'll get bored) and challenges me. I suspect I'll be working on it for many months to come.
Quote:
Originally Posted by AndreF
In the meantime, there is so much beautiful music to be played and worked on.
In this day and age, there is so much more you can do on your own to develop, and so much free instruction (some of it really good) available on the internet. Your connection can't be bad all the time. (For tremolo, check out Pepe Romero, for example, or get hold of Scott Tennant's Pumping Nylon DVD, for non-internet guidance.) You won't be working on RDLA right away, but eventually you will be.
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I agree. I do play some more simplistic pieces including one I wrote myself, "Sonatina Libertas." And I do have Scott Tennant's book that covers Recuerdos, music and right hand exercises. I'll look to get his Pumping Nylon.
It should be a great help if his Recuerdos book is any indication. BTW, one thing you are wrong about, where I live the internet connection is never good, only some days not completely bad
Where I live--by choice--cell phones don't work either
Quote:
Originally Posted by AndreF
So, it's fine to have regrets. We all have them. I fully understand your position. But, you can really do something about it. it just takes time, discipline, and going about it the right way.
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Indeed I am trying to do something about it, but my regret is that I'm a little old I think to really dive head first into it like I'd like to to really even get anywhere close to master class level. Part of where the regret comes from. Texts books and internet (if it would work where I live) are fine to a point, but in my learning style nothing comes close to a good face to face teacher. Each of the 3 long term teachers I've had have really contributed greatly, each something different, something unique and valuable to me. I'm sure there are no classical teachers in less than 100 miles, maybe 200+ of where I live. Your point of "going about it the right way" is one of the flies in the ointment. For me the right way would be a good teacher within a 50 mile radius of where I live
Quote:
Originally Posted by charles Tauber
A good point: a teacher can help with these types of things, sharing his or her experience.
As an aside, once one gets beyond "basic" approaches to left hand fingering, most guitarists add their own preferences based on the sound they want, what they find easier for them or what suits their particular physical attributes. For example, Parkening has fingerings that work with his long fingers but are nearly physically impossible for someone of average finger length, no matter how well you play or how much you can stretch your average-length fingers. One simply adapts his fingerings, where necessary, or choses one's own. As you encounter the fingering options presented in each piece, you learn from that things you might employ in your own fingerings on other pieces.
One option not yet mentioned is the occasional travel to study at master classes or "camps". You then learn things to work on, then go work on them for months - or longer - before obtaining further input. With a skilled instructor, one can learn a lot to work on in a very short time: you have to do the work.
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And thank you Charles. All of your posts that I've read on a variety of subjects have always seemed down to earth and in this case reassuring.