#31
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Good for you. I have read that Tom's Pavan guitars from Spain are also top-notch classical guitars
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#32
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Francisco Tárrega died in 1909 so it is possible he made either wax cylinder recordings or gramophone recordings but I'm not aware of any. I am aware of a 3 CD set of Barrios recordings, The Complete Guitar Recordings 1913-1942, which were digitized from 78 RPM records. It is only late in life that Barrios cut his nails and began using the flesh of his fingers, something that Segovia criticized. |
#33
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#34
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Study 32 from Book 3 of the Escuela Razonada. Beautifully performed by guitarist Alain Trotte. |
#35
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__________________
Barry Vals: Celtic YouTube playlist Nylon YouTube playlist My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional |
#36
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That was *my* point.
...and I'm not trying to be contradictory or pedantic on this, it's just that we have modern instruments with modern strings that need (to my ears!) flesh and nail. In regards to the OP, a well-made classical guitar (and some of the music played on it) is a wonderful, beautiful thing...but his statement means nothing to me.
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Larry Pattis on Spotify and Pandora LarryPattis.com American Guitar Masters 100 Greatest Acoustic Guitarists Steel-string guitars by Rebecca Urlacher and Simon Fay Classical guitars by Anders Sterner Last edited by Larry Pattis; 11-05-2011 at 08:26 AM. |
#37
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I've never played a classical beyond about the 3K point. I'd love to experience what a world class classical guitar can be like, but I'm afraid to do so unless I'm prepared to spend a whole lot of money on a classical guitar upgrade! I think I need to be happy in my ignorance. My classical is more than adequate - the more important thing at this point is continuing to develop my playing......there is SO much more that could be done in this regard! |
#38
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#39
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the string tension of classicals is so much lesser that they require less bracing......don't worry about that Burguet, it's fine! I've owned a few (including my Aparicio) that are extremely lightly built.....even with rosewood back and sides.
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"One small heart, and a great big soul that's driving" |
#40
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I would think the evidence is in the recordings. You could listen to them and judge for yourself. I don't know what other evidence I could provide. I could say that the flesh produces a good tone and you might disagree just as you might if I said a certain guitar has a good tone and you thought not. Logically speaking, it is unlikely that a guitarist would switch from fingernails to finger flesh, as Barrios did, if the result were a loss of tone.
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#41
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Did Barrios make this switch...? ...and again, you refer to the "recordings"...? I may be vastly mistaken, but the players you referenced do not really have any recordings (except for one) and it appears to unavailable...so I'm not sure about your conclusion on this. I may also be wrong, but I believe that during these player's lives, flesh-only may have been the standard, and the flesh and nail combination did not become popular until later on. If so, then these players never experienced flesh and nail, and therefore the conclusion about "switching" is also suspect. I might be 100% wrong...but the way I see it, playing styles have evolved with the instrument, the strings, and in regards to the evolution of the tone we want to hear...even if Barrios made this switch many, many years ago. I'd prefer to not label either approach as "better" (or "best"), but we do have an overwhelming majority of current classical players using nail & flesh.
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Larry Pattis on Spotify and Pandora LarryPattis.com American Guitar Masters 100 Greatest Acoustic Guitarists Steel-string guitars by Rebecca Urlacher and Simon Fay Classical guitars by Anders Sterner |
#42
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I agree with Larry.
I have mostly played classical guitar. I have tried both ways. I have come to the conclusion that some nail and flesh truly provides the best sound. Now, that being said , there is a modern-day advocate of the no-nail approach (see below). He, however, is clear that his approach is by no means the best. His approach tempted me to trim my nails--which once and for all "cured" me of the desire to play without nails. It took a few long weeks to grow them back! http://www.sorstudies.co.uk/ |
#43
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Brad
__________________
Guild F212: 1964 (Hoboken), Guild Mark V: 1975 (Westerly), Guild Artist Award: 1975 (Westerly), Guild F50: 1976 (Westerly), Guild F512: 2010 (New Hartford), Pawless Mesquite Special: 2012, 90s Epi HR Custom (Samick), 2014 Guild OOO 12-fret Orpheum (New Hartford), 2013 12 fret Orpheum Dread (New Hartford), Guild BT258E, 8 string baritone, 1994 Guild D55, Westerly, 2023 Cordoba GK Negra Pro. |
#44
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Brad
__________________
Guild F212: 1964 (Hoboken), Guild Mark V: 1975 (Westerly), Guild Artist Award: 1975 (Westerly), Guild F50: 1976 (Westerly), Guild F512: 2010 (New Hartford), Pawless Mesquite Special: 2012, 90s Epi HR Custom (Samick), 2014 Guild OOO 12-fret Orpheum (New Hartford), 2013 12 fret Orpheum Dread (New Hartford), Guild BT258E, 8 string baritone, 1994 Guild D55, Westerly, 2023 Cordoba GK Negra Pro. |
#45
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See post #32, for the CD set of which I'm aware and where I don't make any claims about recordings from Sor or Tárrega. I have not heard the recordings, however. Barrios died in the 1940s so one would think it unlikely that he did not record. Some people believe Barrios was the first classical guitarist to record but that distinction belongs to another guitarist whose name I don't recall. |