Though the following video is in Spanish, David Russell offers a bit of an intimate motivational talk after a festival in Ecuador.
What I love hearing from him and what I hope students take away from this is the key and central point of hard work. As David says, “There are no shortcuts.”
Other bits of wisdom from the talk:
“Demand the most from yourself without losing sight of why you started in the first place.”
“Like compound interest, the hard work you do now will pay you back many times over in the future.”
And, this is where dedicated hard work gets you:
One of the practice techniques I write about in Mastering Tremolo is practicing your preferred four-note tremolo pattern (or a variety of them) with the following two cross-rhythmic manipulations as another great method for developing evenness because the finger performing the main beat is always rotating.
When practicing the following four exercises try the following practice approaches:
- Use the metronome and start very slowly. Set the metronome to one click per note but try to retain the feel of the overall beat as you play.
- When playing slowly focus on the quality of the space between the notes. Is it even or erratic? Are you consciously planting to prepare and thus silencing the note? If so, make sure that the plant is timed evenly for each space.
- Try spending an intense 2 minutes on one exercise and then deliberately resting your mind (take some deep breaths, look out a window for a change in scenery, stand up, etc…) for 30 seconds before moving on to the next exercise. Focus for 2 minutes, rest for 30 seconds. Move on in this fashion until you’ve completed all 4 exercises. Then push the metronome beat up a few clicks, and go for another set. Complete 3 more sets for a total of 4, each with a slightly higher click rate on the metronome.
Sometimes, one of the daunting things for many young guitarists working on Francisco Tárrega’s Recuerdos de la Alhambra is that it is perceived as long because of the sheer amount of ink and pages it takes to notate that many 32nd notes. The phrases are split over too many lines and the page turns don’t make it a friendly score. I’m not saying the piece is easy but it helps to see the piece as a whole before working on it -a bit like seeing the plans of a new house before building it. Below is a downloadable pdf of a study score that I made a while ago to help students see the big picture.
For more on tremolo, check out my recent book Mastering Tremolo. There are tons of tips for improving your tremolo.
Also, if you feel like anything you’ve done has helped improve your tremolo, feel free to share it in the comments for other readers.
…or should I say, a way of thinking about tremolo? (sorry, couldn’t resist).
Another point Pepe Romero makes in his masterclass is to think of the tremolo pattern originating from a instead of p. This, he explains, is because the first note of the melody coincides with a.
…from my new book, Mastering Tremolo.
“You have to learn to do nothing.” —Pepe Romero
Watching legendary guitarist Pepe Romero teach tremolo was a revelation to me. One of his key points about finger movement in tremolo is timing the reload or return of a after m plucks (as if a and m were alternating) and not after i. As he explains the motion, the movement from a to the string is deliberate or active and from the instant after a plucks our attention moves to m while a unconsciously or passively relaxes. Essentially, the act of doing nothing releases a back to its place to ready for its next stroke. This is counterintuitive, as it would seem more natural to let a remain flexed after m due to the basic sympathetic motion of the fingers. But it is precisely in the case of tremolo that developing independence between a and m, and timing their return, can lead to a better sense of both rhythm and overall movement.
Of all the techniques in Mastering Tremolo, focusing on timing the return of a, even for a little bit, has been most helpful to me in evening out my tremolo and reining in the gallop that often occurs into the next beat when playing at high tempos.
Here is a sneak peak of a page from my soon to be released book on mastering tremolo.
Playing through the ‘skeleton’ of a tremolo piece helps to reduce it in our mind’s ear to what essentially is happening on the musical front. Spending a large amount of time on developing the fluidity, clarity, speed, and all that goes into a beautiful tremolo technique so often draws a majority of our attention into the micro-discovery world that the thought of the larger macro world of what a tremolo piece is trying to achieve musically is somewhat ignored.
There are various ways to enhance the way we psychologically perceive our pieces to make them seem less daunting. The most tried and true method is to play through them hundreds of times. For tremolo pieces, play through them in an abbreviated way, as illustrated below, at faster tempos:
Another method, which I have grown to like despite the substandard sonic quality, was recommended by Malaysian guitar virtuoso, Philip Hii, in his fantastic book, Art of Virtuosity. In the method below, ami act as one and pluck at the same time. Think of plucking a chord but on one string. It won’t sound pretty but in addition to focusing our attention on the bigger picture, it helps the right hand to discover the angle at which it best moves through one string for tremolo.
Hope this helps!