{"id":15347,"date":"2020-10-28T17:09:10","date_gmt":"2020-10-29T00:09:10","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=15347"},"modified":"2021-06-30T14:27:09","modified_gmt":"2021-06-30T21:27:09","slug":"how-to-develop-a-good-tremolo-on-classical-guitar","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/how-to-develop-a-good-tremolo-on-classical-guitar\/","title":{"rendered":"How To Develop a Good Tremolo on Classical Guitar"},"content":{"rendered":"\n<h5 class=\"wp-block-heading\"><strong>By John Patykula<\/strong><\/h5>\n\n\n\n<p>The tremolo is one of the most beautiful techniques of the classical guitar. The tremolo gives the impression of a sustained, shimmering note\u2014a continuous thread of pure sound. It is a delicate effect that still mesmerizes audiences, especially when a jewel like Francisco T\u00e1rrega\u2019s <em>Recuerdos de la Alhambra<\/em> is performed.<\/p>\n\n\n\n<p>Basically, the tremolo is created by playing a bass note with the thumb followed by three repeated higher notes; traditionally the ring (a), middle (m), and index (i) fingers play the higher notes. When played rapidly, this technique creates the illusion of a sustained upper line with a bass accompaniment. In the example below, the melody is in the top voice.<\/p>\n\n\n\n<p><strong>Example 1 (excerpt from T\u00e1rrega\u2019s <em><a href=\"https:\/\/classicalguitarmagazine.com\/classical-guitar-method-how-to-play-tarregas-challenging-recuerdos-de-la-alhambra\/\" target=\"_blank\" rel=\"noreferrer noopener\">Recuerdos de la Alhambra<\/a><\/em>)<\/strong>:<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"464\" height=\"86\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-1.png?resize=464%2C86&#038;ssl=1\" alt=\"\" class=\"wp-image-15348\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-1.png?w=464&amp;ssl=1 464w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-1.png?resize=300%2C56&amp;ssl=1 300w\" sizes=\"(max-width: 464px) 100vw, 464px\" \/><\/figure><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"David Russell plays Recuerdos de la Alhambra by Francisco T\u00e1rrega\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/LhVPTSh5YHM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Occasionally one will encounter a tremolo with the melody in the bass, as demonstrated in the next example.<\/p>\n\n\n\n<p><strong>Example 2:<\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"468\" height=\"86\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-2.png?resize=468%2C86&#038;ssl=1\" alt=\"\" class=\"wp-image-15350\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-2.png?w=468&amp;ssl=1 468w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-2.png?resize=300%2C55&amp;ssl=1 300w\" sizes=\"(max-width: 468px) 100vw, 468px\" \/><\/figure><\/div>\n\n\n\n<p>The Mexican guitarist and pedagogue Jes\u00f9s Silva (1914-1996), with whom I had the good fortune to study with for many years, had an excellent exercise for developing an even tremolo. He would have his students play a scale using the tremolo technique.<\/p>\n\n\n\n<p><strong>Example 3:<\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"383\" height=\"55\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-3.png?resize=383%2C55&#038;ssl=1\" alt=\"\" class=\"wp-image-15351\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-3.png?w=383&amp;ssl=1 383w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-3.png?resize=300%2C43&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-3.png?resize=379%2C55&amp;ssl=1 379w\" sizes=\"(max-width: 383px) 100vw, 383px\" \/><\/figure><\/div>\n\n\n\n<p>By playing the tremolo on one note<em>\u2014and by listening very carefully<\/em>\u2014the student is able to hear more clearly the quality of each tone produced and also control any rhythmic imperfections. This should first be practiced very slowly with each tone being equal, and then one can gradually increase the tempo.<\/p>\n\n\n\n<p>Below is a tremolo exercise from the <em>School of T\u00e1<\/em>r<em>rega<\/em> that will help the student move from string to string with confidence.<\/p>\n\n\n\n<p><strong>Example 4:<\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"400\" height=\"81\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-4.png?resize=400%2C81&#038;ssl=1\" alt=\"\" class=\"wp-image-15352\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-4.png?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/CG-tremelo-ex-4.png?resize=300%2C61&amp;ssl=1 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><\/figure><\/div>\n\n\n\n<p>It is interesting to note that the great Spanish guitarist Andr\u00e8s Segovia (1893-1987) thought of the tremolo as \u201can arpeggio on a single string\u201d. Vladimir Bobri wrote in a 1948 <em>Guitar Review<\/em> article that \u201cthe advice given (by Segovia)\u2026 many years ago was to play rapid arpeggios until they were perfectly even and then practice the tremolo.\u201d<\/p>\n\n\n\n<p>The touch used to produce a good tremolo is very important. The tremolo should have a smooth, singing quality. Silva always emphasized the creation of a mellow tone by using more flesh than nail; for this reason, the nails should not be too long. It is important for the right hand fingers to be \u201con\u201d the strings, caressing the strings, and not \u201cflying\u201d or with an exaggerated motion. Silva advised his students to \u201c\u2026.loosen the fingers and play lightly. The tremolo needs to be smooth, fluid like water\u2026.like a little stream. Don\u2019t play heavy and don\u2019t play each note so individual.\u201d<\/p>\n\n\n\n<p>In his article <em>How to Write For the Guitar<\/em>, Julian Bream (1933-2020) described the tremolo as a \u201cdelightful technique on the guitar\u2026.This effect should be used very sparingly, and I would advise composers to limit their use of it to extended compositions such as a sonata, suite, or concerto, where it can effectively be used to give textural variety, when all the other \u2018stops\u2019 have been pulled!\u201d Bream continues that \u201cwhen played at a reasonably fast speed, it (the tremolo) can achieve a highly sustained musical line.\u201d<\/p>\n\n\n\n<p>Many important composers for the guitar, including Ponce, Castelnuovo-Tedesco, Torroba, Rodrigo, Tansman, and Barrios have utilized the tremolo in their works. This delicate and, at times, <em>mysterious<\/em> technique is one of the most poetic sounds of the classical guitar. Through the works of the great composers, the tremolo captivates the ears of the listener and penetrates the musical soul of the guitarist.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Barrios &#039;Una Limosna Por El Amor De Dios&#039; played by Jennifer Kim (2005 Edmund Blochinger)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/S32i-13jo3E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><em>John Patykula is the Assistant Chair and Coordinator of the Guitar Program in the Department of Music at Virginia Commonwealth University.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-classical-guitar wp-block-embed-classical-guitar\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"6MAzxxnzlT\"><a href=\"https:\/\/classicalguitarmagazine.com\/classical-guitar-method-how-to-play-tarregas-challenging-recuerdos-de-la-alhambra\/\">Classical Guitar Method: How to Play T\u00e1rrega\u2019s Challenging \u2018Recuerdos de la Alhambra\u2019<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Classical Guitar Method: How to Play T\u00e1rrega\u2019s Challenging \u2018Recuerdos de la Alhambra\u2019&#8221; &#8212; Classical Guitar\" src=\"https:\/\/classicalguitarmagazine.com\/classical-guitar-method-how-to-play-tarregas-challenging-recuerdos-de-la-alhambra\/embed\/#?secret=6MAzxxnzlT\" data-secret=\"6MAzxxnzlT\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/store.acousticguitar.com\/products\/digital-archive-2009-2019\" target=\"_blank\" rel=\"noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"600\" height=\"200\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2021\/08\/AG-SUB-SALE-HEADER-1.png?resize=600%2C200&#038;ssl=1\" alt=\"Classical Guitar: the digital archive instand download\" class=\"wp-image-16627\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2021\/08\/AG-SUB-SALE-HEADER-1.png?w=600&amp;ssl=1 600w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2021\/08\/AG-SUB-SALE-HEADER-1.png?resize=300%2C100&amp;ssl=1 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Learn how to develop good tremolo, is one of the most beautiful techniques of the classical guitar. It gives the impression of a sustained, shimmering note.<\/p>\n","protected":false},"author":23,"featured_media":15355,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"Learn how to develop good tremolo, is one of the most beautiful techniques of the classical guitar. It gives the impression of a sustained, shimmering note.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,5],"tags":[108,152],"class_list":["post-15347","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-stories","tag-how-to","tag-technique"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/10\/Francisco_Tarrega-e1625088392915.jpg?fit=800%2C573&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15347","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=15347"}],"version-history":[{"count":1,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15347\/revisions"}],"predecessor-version":[{"id":16465,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15347\/revisions\/16465"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/15355"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=15347"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=15347"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=15347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}