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Yes. Practice both rest stroke and free stroke. The rest stroke creates a richer and bolder sound because the angle of the finger pushes the string into the guitar - the string vibrates with the top of the guitar. This sound is great for melodies. Learn how to use both rest stroke and free stroke because they sound different. It is also possible to play a rest stroke with one finger and free stroke with another finger at the same time. (I do this very often). Hope this answers your question 😊. Good luck!

Great! I get the most out of starting with melody or rhythm sections. Let me know how the book works for you.

Was a special order ,will have to be patient for the supplier to fulfill the order.Thanks for the input on how to best use the book.

Hi Kevin, sorry to say that I don't have an arrangment of this in tabs. The piece is found in a book published by GSP called Ralph Towner volume 2.

This is classical guitar technique, not electric. I love Marc Knofflers playing so yes, go ahead and play like him 👍

Thanks for listening

Thank you too!

Thanks so much Åsmund :-)

Thank you so much 😀

Hi George! How nice. Send him a message on his website, and I'm sure he will be happy to get it to you.

Great! Hope this video helps :-)

Thank you for pointing me to your channel! I like the content the video you sent and hope that other people will look at it. Your comment on overextending at the knuckle joint, and I agree 100% with what you are saying. Most often guitarists will overextend the first finger and that is what Aaron Shearer pointed out as contrary motion which could lead to some hand problems. A golden rule is that you do not want to have one part of the finger flexing while another part extends. If you look carefully at the film, I’m making an effort not to overextend, but create a “box” with the first finger, much like in violin playing. It is very stable and while it appears to be an overextension at the knuckle joint, it is not. I believe as guitarists we need to access all six strings at any given point. I do not alter the position of the thumb/hand to play on the 1st string, so in my mind, playing on the first string requires being more “on the tips” than on the other strings. This is a challenge, but the benefits are worth the effort. If you are a teacher, make it perfectly clear to your students not to overextend at the knuckle! Find a way to create “the box”, and this usually means creating more space on the fretboard side of the guitar neck.

Thank you! I appreciate your comments here. It is important to mention something about the tip, mid and knuckle joints - as a default, we all want to have a powerful full sound, and I hope I was able to describe how to achieve that. (You are right - We have a lot to learn from harpists)

I was going to be rude, but I had a change of heart lawl, many classical guitarists use their nails to pluck the string to get a better tone.

Thanks Jay! Hope to hear you guys again sometime 😊

Thanks George 😊

Glad you like it!

Thanks for reaching out! I want to say first that I am not an expert, so any suggestions I give here are not backed tried and tested results - sorry. Still, I will try to help. If you have a chance, you should look at the journey of guitarist Pat Martino as inspiration. Could you tell me how much you can control your hand and finger movements ? Are there any fingers that have more control than others? Could you play guitar before?

I'm familiar with Pujol which is one of the great methods for the guitar. The Roch is new to me, and I just found copy of it - at a first glance, it looks very right hand centric method - many many exercises - but seems to lack the compositional ingenuity and beauty that Pujol has in his method. Do you use these? What are your thoughts on these?

I wish it was better myself.

@@RandallAversNo mistake: audio quality. You deserve better.

Thank you!

Thank you!

I'm glad you got something from this video. Thank you for writing.

Welcome!

It is an amazing piece - Thanks so much for the comment!

Thank you!

Sorry its taken some time to get back to you. Thank you for your comment! Much appreciated! we can certainly talk about lessons so please send me a message at my website: www.randallavers.com

Yes. Good comments here. The idea of how the hand should look by holding the hand out as you mention here is very good. Still be aware that the forearm should not be resting heavily on the edge of the guitar.

No ball needed.

Thank you, my friend!

Such a great piece. Thanks for the comment.

absolutely. the Tremulo technique is a great example of this

Ralph Towner is a wonderful guitarist and composer and it was a huge challenge putting this piece to work. Thank you for the kind words :-)

The guitar is tuned to a "dropped D". I am playing the piece on a baritone guitar so this guitar is tuned a perfect 5th lower than a normal guitar. Sorry for getting back to you so long after your post. I took a break from my channel.

Thank you Donna!

Hello again Bruno, yes I make mistakes in concert :-) and then I try to correct them afterwards. It really helps to be organised in your practice as I point out in this series. Ideally, I would love all the pages to be a "10" 100% of the time, but that requires such a constant, determined work that it could be all consuming - for most professionals, a mistake for them is something that would go unnoticed by many people sitting in an audience - it could mean hitting the correct note, but with the wrong sound or phrasing. I don't mean to deter you. The importance is to see progress and discovery in your work and chart it. The more a note "means" to you - by itself and in the context of other notes - the harder it will be for you to miss it.

Hi Bruno, thanks for reaching out. No problem at all at beginning again at 54 - just ease your way into it. There are three different categories of "music" you will have to make sure you are progress: Pure technique, studies, and pieces. Technique is basic machine work - no mystery in it, but the execution of the movements should be as "perfect" as you can manage. Studies are designed to focus on one technique aspect and make music from that. Pieces use several techniques and the focus is primarily on making music. The difficulty level of these is (of course) determined by your playing ability. Find techniques/studies/pieces that allow you the headroom to notice what works/what doesn't. Remember the 3 ingredients to the learning process: desire, assimilation, repetition. >Good luck!

Make a thumb stroke while actually grabbing the pinching muscle (between the thumb and forefinger) with the left hand. Try to avoid any involvement with this muscle. The thumb stroke should originate from the muscle under the hand between the thumb knuckle and the wrist. I believe this muscle is referred to as the oblique muscle - which is correct - not the transverse muscle which is incorrect.

Thanks 🙏 such a great piece.

Thanks for your input here. The accuracy comes from referencing, which is when a non-playing finger is placed on a string serving as a reference point for another finger(s) to play. This can be applied to both hands.

@@RandallAvers Thank for the reply. I have to read up about that technique and would be helpful to learn. Maybe you could do a video about that? :) happy to learn here.

Glad you enjoyed it!

Thank you, Jim

Thanks so much George. I asked Dieter if there was one piece I should learn for the tour, what should it be. So glad he chose this piece.

Many thanks!

Thanks Said!

Thanks Linda! I will post more soon 😀

Thanks Srijan 🙏

Thanks again David 😊