Hi list, I'm new here, I jump into this discussion, I hope not to repeat what already has been said...
Krzysztof (This must be the most difficult first name I spelled) wrote: >I think we were able to stablish some three reasons for placing little finger >on the belly (bridge or whenever suitable): > 1. to fix position of the hand (Sor and Aguado) > 2. to fix position of the guitar (Aguado) > 3. as an "innocent" technique unrelated to tradition (Bill) Allow me a general comment: there is not a "little finger support technique" versus a "non-little finger support technique". There is also an in-between possibility, that the little finger is "part-time" on the table. Sor for example was such a part-timer. The little finger support technique results in a hand position which presents a certain part of the fingertip to the string (which is a different part than that in the ..."Segovia-technique"). Because of this the LFST's guarantees a good grip on the string for a hand without nails. You can 'dig into the string' when neccessary. It also results in good tone. Once this hand position is established, the need for actual little finger contact is diminished. Then, the little finger might act as some kind of global positioning device, seeking the table with just cursory contact, to make sure the hand always returns to 'good tone' position. There are other instances when the finger will sit: Sor gives an example. > And, correct me if I'm wrong, we have following reservations against the > practice: > 1. that it dumps the soundbard and affects the sound (? - I was told that by > Bill) The contact point is right in the middle of the most sensitive place on all of the table, trebles will be affected when you push too hard, especially on a light instrument. > 2. that it creates muscle tention (your truly) Not with a light touch. But when you plant it firmly, the muscle tension results in a particular tone. Aguado was aware of that. He sought to incorporate this tone (as a special effect) into his own RH position, which was different of course. This is how he hit upon the concept of the "agitato" tone. By stretching out his little finger, he created a particular tension in the hand, similar to that in a stiff LFS. =A9PP :-) > 3. that it is not necessary for anything (Sor and Aguado) Sorry, Sor uses it (and Aguado translates some aspect of it, see above). > I wonder if there are opinions in support of the practice? I mean strong > support, just like Sor would write: what to do and what for? I am in support of this practice, for a) grip, b) tone and c) for the fact that it enables you to use gut without breaking it (and the bank), and exploring the (seriously beautiful) sounds this material has to offer. There is another thing: the hand position is compatible with an active "p", a happy thumb, which is active in p-i work, also on the upper strings. There are many ways to play the guitar, but I like this one, it might be the most direct and intuitive. Paul Pleijsier Amsterdam -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
