Method Plan - Volume Three

Traditional Free Stroke

The free (or unsupported) right hand position has been the norm since Tarrega discarded the habit of bracing the little finger late in the nineteenth century.

Although pivotal in liberating the guitar's sonorous potential, the unsupported hand position has remained problematical for beginners to learn. Free stroke in the present Intermediate Method is thus introduced only after considerable exposure to the supported right hand position in the Basic Method.

In search of a 'singing' free stroke tone
 
A tone that is 'full,' 'round,' perhaps 'mellow' and has good sustaining properties results in proportion to the degree of stroke force directed vertically upon the sound board. As we know, such a tone is inherrent to rest stroke - a tone with which we can confidently address the classical ideal embodied by Giuliani in 'causing the guitar to sing.'

But how was Giuliani - or any of his virtuoso contemporaries - able to achieve a 'singing' tone without recourse to rest stroke? For that matter, how is this accomplished today, in compositions requiring mainly (or entirely) free stroke, where force tends inherently to be directed parallel to the sound board, thus tending to produce a tone that is too 'thin' and that rapidly decays?

To capitalise on the marginal opportunity available to generate sound board force with free stroke - thus enabling a 'singing' tone - is a fundamental problem.

Free Stroke Technique

Hand position in comparison to rest stroke

The hand is positioned lower for free stroke, with the mid and tip joints more accutely curved. A more accutely angled base joint (knuckle) may also be necessary, initially. As the stroke matures, the base joint should progressively flatten, the finger stroke from a more extended position (illustration below), this will enable sufficient extension between thumb and fingers to span any six string configuration.

To start: base joint angled

Later: (Fingers Extended) base joint gently rounded or even flat

Playing off the right side of of the i finger, a clear departure from playing reststroke off the left side, gives the shorter i firmer leverage in the extended position, helps to balance 'twist' and 'press' leverage between fingers and thumb, optimises speed in alternation, reduces adjustment between free stroke and rest stroke position and - it bears repeating - increases the width achievable in thumb-finger extension.

Execution of the Stroke

An effective stroke can be analysed in three phases:

1. Preparation

Why?

There are two important reasons:

Technical preparation: 'Default setting' for normal position: check right side of tip preparation for i every chance you get.

Check 'twist' and 'press' leverage before playing, helping to remind you to keep a curved wrist - especially important during the initial phase of freestroke when the wrist is most vulnerable to straightening.

Expressive preparation is applied anticipation. Prepared fingers command greater expressive lattitude.

When?

Always prepare both hands before playing and whenever else circumstances permit, particularly after string crossings. Like for rest stroke, preparation damps ringing strings, a fact with far-reaching musical consequences.

How?

Sufficient anticipation enables preparation to flow out of the preceeding follow-through, rather than as a seperate movement.

There are three main ways to prepare:
1. Block preparation: two or more fingers/thumb at once.
2.Selective preparation: a refinement of the above, where only silent strings are prepared: Useful in slow, exposed legato passages and for controlling dynamics within a chord.
3. Sequential preparation: as one of the fingers strokes, the next prepares.
It bears repeating that the reference function of preparation builds confidence at all levels of development.

The unprepared stroke is modelled on the prepared stroke: from the prepared position, back the fingers off slightly while keeping the tips in-between the strings, thus reducing a complex trajectory to a simpler one.

You should gradually develop 'feel-memory' for the unprepared position.

Practice: on (pause) - off (pause) while holding the hand and arm steady. Emulate the sure-fire quality of prepared strokes - psychologically, as well as mechanically - in unprepared strokes.

Further points:
Preparation should not be confused with bracing. As with rest stroke, there is only light contact by the fingers. Arm support for all strokes, whether supported or unsupported, prepared or unprepared, should generally be firm without pressure on the strings. Exceptions include the use of arm muscles for the thumb sweep, or to enhance dynamics.

2. Stroke (follow-through)

Follow-through is initially towards the middle of the palm in a co-ordinated movement of the three joints.

Though initially force in free stroke is inherrently parallel to the sound board, firm 'singing' tone depends on a component of vertical or 'soundboard' leverage. Easiest to exert from the prepared position, vertical leverage must be applied at the 'bottom' of the stroke, pressing the string 'down' just before arcing back into follow-through (see Free Stroke and Rest Stroke Compared, below).

Follow-through is important because:
1. Since initiated near the string even when unprepared, free stroke consists mainly of follow-through.
2. Especially in slow note values, follow-through promotes a consistent 'grooved stroke.'

Because of individual differences, it is hard to specify a precise length or contact point for the fingertips vis a vis the palm. Although follow-through may be emphasised more in slow, forceful playing, some action of the base (power) joint is essential to all strokes and should be visually evident.

3. Extension

The limiting factor in stroke speed is extension. This is because (presuming the hand to remain steady):
1. During extension, the finger must rise back over the string then dip back down into ready position. Extension is thus more complex and time consuming than follow-through.
2. Extensor muscles are much weaker than flexor, or gripping muscles. (The technical brilliance of Flamenco guitar is due, at least in part, to powerful extensor muscles, strengthened through countless thousands of hours playing rosqueados.)

Free Stroke and Rest Stroke Compared

Two Common Problems

The tendency to lock tense or uncertain fingers at the base joint, while substituting a yo-yo like motion of the arm for the stroke. A related problem is 'hooking,' where the fingers pop upwards (lack of a co-ordinated follow through) or 'clamping' where unused fingers are locked fist-like against the palm (failure to extend). This is especially apparent in sympathetic movements, the subject of Parts Two and Three of the present volume.

The tendency to start free stroke too far from the string, as if playing rest stroke. Only highly trained fingers can play free stroke accurately from a wide extension. This is apt to be done at times for flamboyance, rather than any essential mechanical reason.
 

Back to The Intermediate Method