Living in Germany now…and teaching!!

Well I am back on track now. 🙂

After several months working on establishing myself back in Germany, I can say that now I am ready to keep working on my blog and website.
It has been few months of search for a new apartment and finally having my family all together with me in Germany. I also started to teach at my old School and of course also guitar-students. My dead line for my book was of course not possible to reach, since the situation of finding an apartment is right now ridiculous!! There are no apartments and if you find something you can not afford then. But well… I got through and found a very nice big space for my family!

So this means that I am back online. I mean Online, because here in Germany it took me 2 months to get Wifi at home!! But now here I am… ready to keep writing and teaching.

The concert situation is also improving, since traveling to the USA is much cheaper from Germany then from South-America. This was very important in order to get a good Agent in the USA.

Teaching is of course my passion…. as maybe some of you can tell.
So I will start again teaching AND also Online Lessons!!
I had many students from different countries in the past, and we had lots of fun. Specially when I can tell that the student is practicing a lot with my technical approach, because the technique and ability of expression improves enormous. here we go with some new ideas on technique!!

Keep in touch !!

Greetings to all me followers!!


Another finger-independence training exercise with Contrary Motion

Hello everybody!

Here again something new for our left hand.
The following exercise is not a new one. If you analyse the general idea of it you will find some similar exercises. The exercise is  based on a technical exercise that my teacher Celin Romero taught me. You can also find it in Pep Romeros method book or in Scott Tennant books “Pumping nylon”. Scott Tennant was also a Romero student.

In the following we will execute the exercise quiet different. Mainly because I believe that everything we do on the guitar should be done always with sound, since the sound will always tell us if we are doing it right and also if we are improving!

Contrary Motion is a very good concept in order to train finger independence.
You should read and practice the exercises from my earlier posts.

So…here we go to the next one:

Here you can see the exercise that we will be able to play. But before you get to this exercise I always teach my students an exercise that is more like an  preparation to this one. Each finger should be trained individually first. Again the basic concept of this exercise is from my teacher Celin Romero, but we will apply it a little different – with sound.

It is very important that you keep the fingers on the position s long as possible, like trying to play everything legato legatissimo.

Once you fell confortable with the single finger training, then you can go ahead and practice the advanced exercise above.
The score shows only the training for the fingers 1-2, if you want more you can get them directly from me, just contact me.


Back in Germany

Well now some big news…. I moved back to Germany!!!
This post is more an emotional discharge after few hard days, trying to get some help from the German Government in order to get started in this new life.
Since Bolivia is not a supportive society, so that an artist can make a living, and on top of that, my education and level of performance is not valued…. I decided to move back to Germany.
In addition Bolivia is economical and disaster and is following the “brillant example” of Venezuela. Well …both presidents are socialists brothers and are very focused in building up own wealth.

The arts and classical music scene is for sure on very high stands here in Germany, so it will be very exiting to meet other artists and visit many concerts.
BUT in order for me to start fresh in Germany, I was counting on the support of the german Government, and this is not very likely now. Many foreigners receive financial support, but in my case it will be not possible. Why? I don’t know for sure. Maybe because I had already some success and have few debts in Bolivia. Our life moves always around the money and in order prosper we usually take your chances. So I was honest as it should be and told the lady at the Jobcenter about that – now they want more and more paper work from Bolivia. And that is absolutely not easy to get, corruption is high and nothing  really works.

Well…. everything is on stand by right now.
I try to get teaching jobs but this is complicated. I even applied as a salesman at a music store, and also declined.
I will try to focus on my writings and on finishing my book, maybe through this I get some income.
And the hard part is that my family is still in South America and I miss them.
Here again the government is making things complicated. My daughters are german citizens but my wife is Bolivian….. and this seem to be a problem.

Well enough of sadness!!!
The best I can do is playing and teaching the guitar…. so at least here I will keep working.
Last weekend in Frankfurt I met one of my teachers – Pepe Romero.







After a fantastic concert (Concierto en Flamenco by Moreno-Torroba and Rodrigo’s Concierto de Aranjuez) we met and chat for while. It was 15 years ago that sat together in his house in Del Mar/San Diego and talked about music and had espresso.
In the end he was very pleased about my plan to publish my book and he wants to read it before I publish it!!!!! GREAT!!  Of course the same will do my teacher Celin Romero.

That is a really great news for me right now!!!!
And of course the kindness and magic smile of Pepe makes disappear all the troubles that I have right now.

This means I have to work hard in order to be ready by May. Publishing date is May 2019!!!

So keep joining me here, because I will be posting more and more about my views on guitar technique.

Next to come is more on practicing “Octave Scales” but with a fantastic technique in order to improve independence and using always the fingers 1-3 against 2-4!!
We already covered the octave scale before in the post “Control Technique – Contrary Motion for better finger-independence – Scales

Come back!

Greetings from Limburg an der Lahn/Germany.

Control Technique – Contrary Motion for better finger-independence – part 3

The last Finger-independence exercise we did (in part 2) I called SPIDER exercise.
We began with a simple one where the fingers did not stretch to much, they just change to the next string. IMPORTANT is that you repeat the complete exercises chromatically on each fret.
One important issue for us guitarists is, that when we begin to stretch the fingers, reaching out for the strings further away (e.g. one finger changing from the b-string to the a-string) the angel of pressure changes, and thus changes flexibility, independence and strength.
We can practice the different elements with a variety of exercises. But I believe that it is always better combining different element like independence and strength or flexibility and as already said, always with sound using the right hand attack.
For now we only talk about one direction, moving upwards, since they return has a additional challenge using both pair of fingers in anticipation – we will cover this later on.

The next step in our Spider exercise is to expand the stretch of the fingers. This creates also more challenge for our independence training.

As you can observe the number of string changes are less then in the exercise 1.1.
Here again we create a certain contrary motion of our fingers, which it the most important part in order to improve independence.  Specially working with  the combination 1-3 against 2-4 creates  a tremendous improvement of our hands ability.
IMPORTANT is that you hold the notes as long as posible!!!
When you play the 4th note – in this case finger 2 – in that very same moment you change the finger 1-3 anticipating its position, but we keep the fingers 2-4 under pressure.

Always practice in slow motion!! You have to clearly feel the contrary motion, by lifting the fingers as high as possible before changing the string. This means: vertical motion and horizontal motion are the main focus, together with the anticipation.



Finger independence training for the Tremolo

So here we are again.
Talking about the famous Tremolo technique.

Here is one thing I will say up front. I believe that we should not call it “Tremolo Technique”, because this leads to the misunderstanding that we need to play something else, or move our fingers in a different manner then we usually do in order to get the 3 notes together… or better one after another.

I have heard so many students that have the “Gallop” sounding Tremolo.
This is exactly where we end up when we try to have somehow ONE movement of the hand and three fingers going inside and creating 3 notes.
It is somehow like a brushing movement, most students execute it very light and are not able to obtain a loud sound, or others got more training and are able to make the 3 notes sound more or less loud and fluent.
BUT this works only with one certain tempo; it means the Tremolo line will only flow if you perform it with one certain overall Tempo. In the moment when you slow down the tempo you get a “Gallop” like Tremolo.

Many years ago I was honored to be adminted for a master class with David Russell, this was I think in the mid 90s. David use to teach near by Frankfurt a whole week with a selected group of students.

On the second day I performed “La Floresta” by Barrios for him. My Tremolo was not weak in sound but it was not stable…. if I slowed down the tempo I went into the “Gallop” tremolo.
The great comment from David was: “Within your Tremolo, you have to be able to play with different accents, moving the accent from one finger to another.

Well I knew of course what he meant (I guess everybody have had this experience and knows what it means), but how do we get really a strong Tremolo that is fluent and can vary in tempo and dynamics?

It took me over 15 years of performing and finally finding a solution to this problem. Everything was inspired by my good friend Dr. Felix Olschofka, a great violinist and teacher at the University of North Texas/Denton. We met during our studies at Indiana University/Bloomington.

During my period as a Orchestra Conductor I had to learn a LOT about violin playing. My friend Felix spend few days explaining me the concept of “Contact Point” for the violin. And this was one of these moments where you think you are discovering the New World.


The place or spot where the bow is in contact with the string. The bow transmits all the energy to the strings and is able to vary the color and nuances of the sound, ad juts by changes the Contact Point. Sounds very easy but it a real Art that taks many violin players years to become perfect. There are many different schools that teach all about bow arm. I think a very famous is by Leopold Mozart and also of course by Geminiani. Every thing evolves around the contact point that makes the sound be rich and with a incredible proyection.

The complete concept of Contact Point will be another series for y Blog, so for now I will not get into the discussion. I already have it written down but …later on.

BUT we have to know that the Contact Point is crucial for the Tremolo!
We need 4 independent contact points that have all the energy needed, in order to make each note sound full and proyecting and all the other great souding word describing the sound.

The main problem is that we hace to understand the Tremolo as a sequence of 4 independent attacks, and not a special movement of the thumb and a-m-i fingers brushing over the string.

Ana Vidovic actually proves my point: If you think on 4 independent attacks, that this means that your worriews lie only in getting the attacks together in one line. Ana Vidovic performs the Tremolo with thumb and just m-i fingers. Middle- and Indexfinger play fast attacking the strings pretty much strong making the 3 notes sound full and in the correst sequence. There is no special movement foe the Tremolo – just 4 independent attacks.

My idea of the Tremolo is the classic apporach since Tarrega, this means using a-m-i fingers because 3 fingers can do the work better then only 2 fingers,……..


Control Technique – Contrary Motion for better finger-independence – part 2

For finger-independence we have to work with all the scales. As you can observe in the E-mayor scale that we used in my last post, you can see that the scales changes the way back, this makes it even more complicated but very effective!

In our every day practice routine we have scales, studies and also chromatic exercises and maybe even also elasticity training without the guitar.

The next exercise is a chromatic one. It is based on a basic exercise that I learned in my youth during a special week of master that David Russell used to teach in Germany near by Frankurt. It is again moving the fingers 1-3 against 2-4 , only this time I did prepare a complete sequence of all combination of fingers moving in contrary motion. I start with a very simple one, which is great for your young students, but we will work our way up to the most complicated exercises.


Here we start with the 1-3 against 2-4 exercise with I call Spider, since the fingers will move like a spider.

The special trick for the execution of this exercise is, that we always have the fingers in a active state, either pressing down the strings or moving onto the next position.
As you can see in the score, it has an indication when to change the fingers to the next position. This will create the contrary-motion of the active and passive fingers.
While you are pressing down the fingers 2-4; in the moment when we play the second note (finger 2 in this case), we place the fingers 1-3 onto their next position. This is why it is more like a apperggiated playing. Also it is important to see that we are anticipating the position – placing the fingers before they actually play.
ANTICIPATION is a very important concept. Anticipating the finger on its next position, instead of having the finger in the air waiting to be placed will result in a incredible flow of the fingers and it keeps all the fingers very close to the strings. Manual Barrueco is maybe a very good example, who keeps his fingers always very very close to the strings.

Sorry, but it is getting late. I am on concert tour and had a long day. Tomorrow I will complete this post.

Control Technique – Contrary Motion for better finger-independence – Scales

Finger-independence is maybe one of the most complicated issues in classical guitar, since there has not been a clear developed method for it.

Scott Tennant is maybe the only one who has addressed this issue with some of his exercises. In his book “Pumping Nylon” he shows the importance of finger independence and offers some exercises for it.

Abel Carlevaro also has developed a great number of formulas for both hands, but it lacks on the concept of independence. His formulas will be used in my book, since Carleravo was on the right track, I modified the application itself and put his formulas in the prospective of my concept of “Staccatto exercises for the right hand independence training”.
I am certain that there are more guitar pedagogues in our century that have recognised the important of this issue.

A very important point in my concept is the we have to practice the guitar technique ALWAYS with sound. It became quiet common to practice technique in a “dry” manner; this means just as a mechanical movement without sound – just moving the fingers over the strings.
This leads that several aspects of music are not being addressed -such as nuance, dynamic, sound-projection and others.
In the same mentality as Franz Liszt applies for the piano, we have to practice technique preparing our hands for the situations we will encounter later on in the repertoire. Practice technique should always involve the use of the “intelligence” (Imre MezĹ‘, “Liszt in: Technical Studies I, 2.”), in all possible ways to prepare us for the problems that will appear in the repertoire – this means always with sound.

Contrary motion is nothing new. I spend several years studying different pedagogical approaches of other instruments, like violin and piano; studying with the help of pianist and violinists friends.
The piano has always impressed me. Piano players have an absolute control over the hand and the fingers, and they don’t use excuses for the deficiency of the little finger or the ring finger.
Franz Liszt has developed an important series of exercises that influenced nearly every piano teacher and performer. Before him his teacher Czerney and even Czerneys teacher Beethoven have worked on technical concepts for the piano pedagogy.
After analysing Franz Liszt “Technical Studies” and his exercises, I realised that the piano demands more from the hands, because of the nature of the keyboard in relationship to the hand.
Lifting the finger preparing, shifting and pressing the next key, is defined by Liszt as “Principal of vertical and horizontal Motion” (Neil J. Goodchild, “Liszt’s Technical Studies: A Methodology for the Attainment of Pianistic Virtuosity”, University of New South Wales, 2007).
This is the key element that needed a more 
physical/medical attention. Thanks to Dr. Pekka StavĂ©n (Finland) who supported my analysis. What happens inside the hand and how it leads to technical improvement is important to understand in order to find a “basic common concept” with which I could  develop exercises for the guitar. Understanding how tensor and extensor muscles, also the muscles  and tendons are working in contrary motion is important.

The tendons that are involved for the movements of the fingers and all the muscles supporting the motion are being trained, you could also say: the fingers are moving against each other. It means while one finger moves in one direction the other moves in the contrary direction. This concept allows for a high level of independence between the fingers. For the pianist it has one additional parameter: Strength is needed to press the keys down, and in the same time another finger is moving in contrary direction. This makes the finger training even more effective.

Franz Liszt uses an exercise that is called “double thirds”. He opposes the index and ring finger against the thumb and middle finger and also the little finger with the middle finger.  Translating this idea to the guitar it would mean that we need to train fingers 1-3 against 2-4 on the left hand, and p-m, i-a and m-e on the right hand. Through time many other pedagogues have developed other exercises but based on the same concept and Liszt and maybe others in his period have developed.

The above score is an excerpt of Franz Liszt “double thirds” exercise. (Franz Liszt, “Technische Studien“, J. Schubert &Co, Leipzig).
I recommend you to watch on youtube different videos on Double Thirds for piano.

Once we understand the mechanical details of this concept, then we realise the incredible advantage of this type of exercises.

I spend several months analysing the hands mechanics and translating the muscle and tendons motion onto the guitar. Of course we cannot just use the piano score and try to execute them on the guitar; the key element is the mechanical concept and applying it to the guitar. Thus I developed a series of exercises based on scales.
Technical exercises must prepare us for any situation within the repertoire, this is a reason why “dry” exercises based only on movement of the fingers are not the best way to train our fingers. Sound is crucial, since our intellect has to be always involved in our practice routine though sound.
This means that my independency exercises are based on scales. You should of course still practice your standard scale exercises and expand your training routine with this new scales.
This is of course not the only exercises that leeds to a higher ability of independence for our fingers. It is necessary to work a complete serie of different type of exercises which I have worked on for several years. I have a series of exercises for the young student working upwards into more difficult exercises.

Octave Scale for classical guitar:

Octave E-Major Scale

In this octave scale in E-Mayor you can observe the contrary motion of the fingers 1-3 against 2-4. The first triple group repeats the low “e” because of obvious reasons.
As you can see the octave scale is not being performed straight through, but the repeating notes in each triple group creates the needed challenge for the contrary motion.
In order to achieve the best results you have to practice with higher pressure when pressing down the active fingers, but when lifting the passive fingers up for the change of position, you have to lift them as high as possible.
Also very important is that you keep the pressed fingers as long as possible down, creating a slight “legatto” effect. This makes it more difficult at first, since two fingers have to prepare and change position while two other are still active, pressing down the string.
Here we introduce the two motions: Vertical motion, up and down the string and the horizontal motion parallel position change over the strings.
Also as you realised we talk about active and passive fingers. This a concept that will help us to understand more about the preparation and anticipation of the motions of our fingers.

Next week more on Contrary Motion for guitar!!

Sitting posture has to be as relaxing as possible..and not causing fatigue!

This topic today is maybe for some performers really nothing new, since many already have changed the sitting posture with the help of some kind of a support.

I have been playing for decades with the traditional posture using the famous footstool. But 10 year ago I had a stupid accident, jumping down from a 1.5 meters high stair and I damaged a little bit mit hip;  which was not a problem for my sitting posture at all – in the beginning.

Soon after I realise that the practice time got shorter, because I had to stand up more often, and my lower back began to hurt, and I got tension even up to the neck.
That was the time when I realised that something is wrong with my posture. That meant that I had to do some research in order to find out how to fix my problem.

First of all I went to the doctor and he did some X-rays of my back. He found out that I had some problem of curve angle of the first lumbar disk – L1, L2,L3 and L4. Not a big deal for a regular person, but for us guitar-players it causes tension, fatigue and pain after long hours of practice.
Observing different performers on YouTube was very important. Of course you can find a variety of options, but how should we know the reason why a certain performer uses a different posture. The argument for a certain posture is of course very important, and not easy to find out.
But with some imagination and of course testing them out for yourself, you can find your own solution.

All different kinds of guitar supports are being used, and I am sure that everybody has a reason and argument why they use it.
So I tried the posture with the famous A-Support and also the other options with the cushion on the left leg, ……….and others.
But all had on thing on common!! My body and my back had to move somehow forward towards the guitar or at least using the back muscles in order to sit straight, and maintaining the balance using the back muscle structure. And exactly that!! was leading in my case to strong fatigue. My lower back got tense after 30-45 minutes of practicing and trying to sit straight and I felt the fatigue and the urge to stand up and rest.

The key experience was a video of Andres Segovia. The famous documentary of his house; where he showed the world his large house between the Olive-trees. I find this quite egocentric, but we all know that Segovia had a special character.

But in between he began to play the guitar on a regular chair with a high back support, and you can see how he sits very relaxed, resting the guitar on his bely and his back resting backwards onto the chair. Important was to observe that the guitar-top was pointing more upwards then usual with other postures.

And also an important experience was in New York 2010 when I was part of the New York Guitar Seminar. During Eliot Fisk concert it was nearly the same observation, even more clearly then Segovia’s video.
On stage was a regular chair with back support, and when Eliot went on stage he was using an A-support and he sat down very relaxed, resting his back in the back-support of the chair.

I thought also on the violinists of the symphony orchestra that I use to conduct, where they sit for hours of rehearsal, and most of the time they lean back into the chair; because no violin player would perform an entire Mahler symphony sitting straight.

This led that I began to test different guitar supports that allowed me to have the guitar coming back to my body while my back was resting backwards into the chair. The famous A-support and other options had not enough angle to bring the guitar backwards in a balanced and stable position.
Nonetheless I realised that I needed something more specialised in order to bring the guitar back.
So…..I started to build a support for my own, that could hold the guitar on a stable and balanced manner in the angle that I need.

This led to my own invention of a guitar support.
With flexible adjustable joints I was able to adjust the angles of support  correctly to my body size, bringing the guitar backwards to my body, and thus pointing the guitar-top upwards (for better projection). My back could rest in the chair, but still was able to move forward if needed. The guitar was balanced and stable.
AND  a great plus, with this support I was able to sit and practice in different chairs. I can sit on the couch or even in my bed and still having the correct sitting posture and the guitar correctly in front of me.



Here you can see very clear what I mean. I chose a green chair in order to see it better.

Once I adjusted the angle correctly I was feeling extremely comfortable and could again make better use of the practice time. After trying out different heights of the support and also changing the placement, I noticed that the right shoulder changed the position. This was also the case when I tried out other support options, but soon after I noticed that I could just fall down the shoulder and rest the weight of the arm on the guitar, thus that guitar was more stable and my right hand and forearm had more freedom.

I am sure that many performers have tried different options. But sharing my experience can maybe help somebody else that has similar problems – fatigue and even pain in the lower back.

If you have any questions feel free to contact me and ask!

Have fun practicing!!

Tremolo tricks the ear.

Well now I will start to write about guitar technique and music. I love to talk about  music even more if it is about classical guitar.

I usually teach every day for several hours while I practice – this means the following: When I practice repertoire I discuss all the details that I can think of with my Ghost-Student.
He is patient and eager to learn, so sometimes I can explain very complex matter for over one hour and my Ghost-Student is always very focused.

Of course we know that this type of students are very rare but for me it is very helpful in order to look deeper into the music and of course talk about technical issues.

Well… wife tells me that I am crazy, because when she passes by my studio window I talk very enthusiastic and with gestures to my non-present student. Of course this might look odd and crazy for somebody out of the music world. In these days my wife got used to the fact that I teach alone and talk to myself.

After my last concert tour in the USA one student came up with the idea of a Blog, since what I teach is helpful and students love the challenge for improvement.

Well, after few days of learning about WordPress Blogs, and crashing several times my web page, I finally get to write – without pulling my hairs when the page is not working again.

Now, I was thinking on a first topic for the Blog.
Everybody says that the first presentation counts most in order to maintain people interested.

This means that I will talk about the TREMOLO.

For this I want to thank all the students from University of North Texas/Denton and specially to Prof. Thompson. The planed 45min. master class went for over 4 hours without a break…and yes, all the students where very focused and participated and applied all the new technical stuff I showed to them.

That said, I have to clarify that my point of view and exercises are not thought to be for beginners. But teachers could incorporate some of the basic ideas in the process and take them step by step to a higher level.

Here we go!

Most of the young guitar players get really exited when it comes to the Tremolo technique. Tremolo is a very unique technique for the guitar, and most musicians and of course the audience are usually very impressed by this wonderful sound effect.

There are so many ideas on how to practice the Tremolo, that you could actually write a separate article just on the different methods.

I believe we need first to understand what actually the Tremolo is, before we take the guitar in our hands.
The Tremolo is an acoustical effect that tricks the ear, and this is actually quiet simple – so it fits perfect for my first post.

Continuous line:
When you hear a tremolo piece you are impressed by the continuous sounding upper line. Together with the thumb it creates the impression like two instruments performing together.

Musically speaking the ear follows the upper line and it sounds like 4 notes flowing over the baseline.
But of course we know this is not the case.
There are 3 attacks for the upper line,  after the thumb attack. The Flamenco style has 4 Attacks.

Well so far there is nothing new…right?

But if you have 3 attacks and the thumb attacks in between why does it sound as a continuous line?

Well, the ear hears 3 notes and one that is hidden behind the thumb, so the thumb is responsible for the coverup of the 4th note in the upper line!

And now the important thing is:
You have to let the 3rd note of the tremolo ring over the thumb attack creating  a “tide note”.
Here lies the problem.

The upper system is the usual writing of the Tremolo (in this case it is the beginning of “Recuerdos de Alhambra” by Tarrega).

The second system shows what your ears are actually hearing. There is a tied note sounding behind the thumb attack.
And this is exactly what most teachers mean when they say: “You have to connect better the tremolo line!”

Now the hard part is of course to connect the line, because we learn the piece from the very beginning as it should be played with several chords – placing and changing all fingers together as a chord and this creates always a gap in the Tremolo line.

You can see in the second system at end of the measure the spot where you have to anticipate the change of the 1st,  2nd and 3rd finger, but the 4th finger stays just a little longer creating the tied note. This means that your fingers have to become independent from each other and try to follow the idea of the music!

The thing of the “tied note” is of course not always possible. Specially when you have big jumps, but most of the time it is always possible to create a separate movement of the fingers keeping the finger who has the tremolo note planted as long as possible in order to create the tied note.

When you have big jumps or very awkward changes there is no chance you can apply the anticipation idea, but then you have to cover up the moment with a full sound of the thumb attack, so that the ear does to realises that there was a gap in the tremolo line.
The best example for this is when you observe Celin Romero or Pepe Romero performing  the Tremolo.
I am privileged to have studied with Celin Romero in Del Mar/San Diego; but you can watch videos of Pepe Romero performing Tremolo technique. You can see very clearly that he uses nearly always the “Apoyado”-attack for the thumb. This gives the lower line a full sound and covers up the little gap of sound in the tremolo line – when you are not able to connect the tremolo holding the “tied note”.

So for me the big difference between “Recuerdos de la Alhambra” by Tarrega and “Una limosna por el Amor de Dios” by Barrios is not that Barrios uses mostly the high E-string for the Tremolo….. (there shouldn’t be a difference on what string you play the Tremolo – I will talk another time about this topic).
The problem is that Barrios makes large jumps over the fretboard and this makes it impossible to apply the anticipation idea for the upper line in order to maintain the “tied note”. I try as much as possible to use the anticipation but when you have big changes of position you have to focus on the thumb – the thumb has all the responsibility in order to coverup the gap in the Tremolo line that are created by the big changes. Thus you have to be able to perform the Tremolo playing the thumb with “Apoyado” technique.

There is lots of discussions out there about the placement of the p- or a-finger in the Tremolo…. which finger has to be placed first.
Well, I guess this discussion is solved, because if you place the a-finger to early – either before or together with the thumb – you cut off the sound of the Tremolo line – you loose the tied note!

This is of course not everything about Tremolo but it is a start.

I hope I could add some little technical knowledge to your Tremolo technique.

Next to come:
Finger Training tips in order to have a even attack of the Tremolo, no matter what speed you perform in.







Hello everybody who loves the guitar and practices for hours!

Welcome to my Blog “Thoughts about Music”.
I will soon start to write about a detailed way of technical practice routine.

Strength, balance, independency of fingers, the TREMOLO and lots of thoughts about repertoire and interpretation.

I am aware that this is not the only practice routine you will find on that internet, but based on my experience I will talk about important issues and their exercises that helped me tremendous and I am convinced that will help others too.

Come back soon!