Quote:
Originally Posted by jonnymosco
That was played really beautifully.
Regarding the bent wrist discussion, outlined well by Charles, you may find this video I made useful.
The important thing is to have a gap between the soundboard and your forearm to enable you to adjust the angle of attack of your fingers to make possible a variety of tones and also to promote finger movement starting at the big knuckle. As mentioned in the video, a bent wrist will restrict finger movement and cause friction in the carpel tunnel and long-term damage.
Old school players seemed to do a lot of wrist bending, but you won't see it much today. To create a stroke pushing the string in towards the soundhole, which is the action of the rest stroke giving a fuller tone (also possible with the free stroke) you do need the hand raised, but don't need to bend the wrist.
The history of RH technique and angles is fascinating - look at Ida Presti's right hand, angled to make playing off the right edge of the nail possible and all about tone production at the detriment of physical ease (a technique still promoted in some parts of the world). There is also Carlevaro's approach which is contrasting.
Good luck.
Jonny
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Thanks Jonny - very helpful video (I have watched many of yours previously)
I had a good suggestion over on Delcamp from Stepeh Kenyon, who said to move the neck angle higher to allow a better finger placement - that certainly helps.