Dr. Richard Wood & Miss Laura Da Silva - Understanding Positive Play
‘The best way of play’ _ Richard Sweeney.pdf
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Transcript of ‘The best way of play’ _ Richard Sweeney.pdf
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8/11/2019 The best way of play _ Richard Sweeney.pdf
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Around13yearsagoafterm yend-of-yearrecitalasastudentstudyingclassicalguitarinDublinI
cerem oniouslycutoffthefingernailsonm yrighthand.Ihaddecidedtobecom ealutenist!Ipre-
ferredthem usic,therewasm oreofitandthepossibilityoffarm oresocialm usicm akingm adem y
choiceaneasyone.
Approxim ately5yearsago,Idecidedletthenailsonm yrighthandgrow.W asIintendingtotakeup
theguitaroncem oreandshunthelute?!TheanswerisnoIhaddecidedtoplaythelutewith
nails.
Atthetim eIdidntconsiderthecontroversyIwouldcausebythisdecisionandeventodayIfind
thereisoftenconfusionregardingtheauthenticityofthisapproach.Likem ostpeople,Ihatetobe
judgedatall,butassom eoneforwhom historicalaccuracyhasalwaysbeenoftheutmostim por-tanceto,Ididntwanttobeaccusedofhistoricalheresy!
So,whatsthedeal?M odernguitaristsplaywithnails,lutenistsdont(oratleastshouldnt)right?!
Letsthinkaboutthatassum ptionforam inute:W henthe20thcenturyluterevivalbegan,lutes
wereoftenlightlyconstructedandstrungwithverylowtensionstrings.Am odernschooloflute
playingevolved,whereluteniststendedtoplaywithatechniqueradicallydifferenttothatofthe
m odernclassicalguitar.M anyofthepioneersofluteplayingutilizedahistoricaltechniquedetailed
inseveral16thandearly17thcenturysources,wherethethum boftherighthandisplacedinside
thehand(notstretchedoutsidethefingers,likem odernguitarandharptechnique).Thestringis
thenpluckedusingthefleshofthefingeronly.
M USIC
3RDSEPTEM BER,2010|RICHARDSW EEN EY|15COM M EN TS
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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Intheearlydaysoftherevival,thiswasreallywhatdifferentiatedguitaristsfrom lutenists.Agen-
erationortwolaterandwereinapositiontore-thinktheassum ptionthatthereisonlyoneappro-
priatehistoricalperform ancetechniqueforthelute.W hilstthetechniquedescribedaboveisin-
deedahistoricaltechnique,itisinfactonlysuitableforthem usicofthe16thandearly17thcen-
turiesanditisonlyoneofseveraldifferenthistoricalapproaches.Astheluteacquiredm oreand
m orestrings,thistechniquewasgraduallyanduniversallydroppedinfavourofthetechniqueof
playingwiththerighthandthum boutsideofthehandwhichfacilitatedinreachingtheadditional
basscoursesDowlandhim selfchangedhistechniquetothem orem odernthum boutm id-ca-
reer.
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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Thatsallwellandgood,butthequestionrem ains:Canplayingthelutewithnailsbeconsidereda
validhistoricalperform ancetechniqueforhistoricalpluckedstringinstrum ents?
InhisIntavolaturadiLiutoediChitarrone(1632)AlessandroPiccininiadvocatestheuseoffinger-
nailsontherighthand.Infact,som eoftheadvancedperform ancetechniqueshedescribesinhis
bookIdontthinkarereallypossiblewithoutfingernails.O nesuchtechniqueiswherethenailof
theindexfingerplucksthestringbackandforthalternatingwiththefrontandthebackofthenail
inrapidsuccession.
FrancescoCorbetta,theItalianguitarteachertotheKingLouis14thofFranceplayedwithfinger-
nails.AsrecordedbyAdam EbertinhisM m oiresof1723havinghadthebadfortuneofbreakinga
nail,[Corbetta]wasunabletoplayattheFestivalwithhisconsort.InGasparSanzsIntroduccinde
M usicasobrelaguitarra(1674),thelicenciadoS.AlfonsowritesTherearesom ewhoplaywiththe
nails,whoravishthesenses,andotherswhogratethenerves.Thefollowingpictureshowsthatyetan-otherguitarist,Dom enicoPellegrinialsoplayedwithnails.
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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Thom asM aceinhisM usickesM onum entof1676writestakenotice,thatyouStrikenotyour
StringswithyourNails,assom edo,whom aintainittheBestwayofPlay,butIdonot,andforthisreason
;becausetheNailcannotdrawsosweetasoundfrom aLute,asthenibbleendoftheFleshcando.M ace
obviouslyhadapreferenceforplayingwithoutnails,butitsalsoclearthatitwasnotuncom m onto
playwithnails.
SilviusLeopoldW eiss,probablythem ostfam ouslutenistofhisgeneration,travelledtoItalyinthe
18thcenturywherehebothsaw andundoubtablyplayedwithm anyItalianlutenists.Inaletterto
M athesonregardingtheluteandtheorboW eisswritesthatthearchluteandtheorboinItalyare
ordinarilyplayedwithnails.W eisslikeM aceexpressesapreferenceforplayingwithoutfinger-
nails,addingthatthatwhenheardatcloserange,thearchluteandtheorboplayedwithnailscan
soundharsh.Regardless,thefactrem ainsthatW eisswritingsim plythatitwasinfacttheexcep-
tionandnottheruletoplaythetheorboandthearchlutewithoutnailsinItalyinthe18thcentury.
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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Iwanttostressacoupleofthingsatthispoint.Firstlyandm ostim portantlyIm notsayingthatits
m orecorrecttousethistechniquethatanyotherhistoricallyjustifiableperform ancetechnique
apointalreadyindirectlym adebybothW eissandM ace!M yonlygoalistodem onstratethatplay-
ingwithnailsisavalidtechniqueforhistoricalpluckedinstrum ents.Secondly,Ithinkitsworth
pointingoutthatthisplayingstyleisverydifferenttom odernguitartechnique!Iwasaclassical
guitaristforseveralyearsbeforeIplayedtheluteandIplayedwithnails.Ialsoplayedthelutefor
m anyyearswithoutnails,soIfigureIm qualifiedtocom parethestyles!
OverthepastseveralyearsofplayingwithnailsIvem adesom einterestingobservations.Im not
tryingtopersuadeanyonetochangetheirtechniqueandIm certainlynotsayingthatitsbetterto
playwithnailsthatwithout.Im alsosurethattheresultsofchangingtechniqueswillvaryforper-
sontoperson,butforthoseofyouthatareinterested,herearesom eofm yexperiencessinceIstartedplayingwithnails.
1.Icanplayfaster.Thethum b-outtechniquehasareputationofbeingalittleslowerthat
thum b-in,butIcanplaym uchfasterthanIcouldbeforebyusinglessofthefleshofm yfingerin
thestrokeandm oreofthenailinfasterpassages.IfIem ployPiccininistrick(actuallyitsnotjust
Piccininistrickreally,thesam etechniqueisdescribedinseveral16thcenturySpanishvihuelasourcestoo)ofusingthesam efingertoplayfastpassages,Icanplayreallyfast.Itishoweverabit
difficulttocontrolthisandstringcrossingsIfindalm ostim possible!
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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2.Icanplay(abit)louder.Usingfingernailsalsom akesthesoundIproducebrighterwhichtendsto
carrybetterinensem ble(thisisalldebatableIknowpleaserem em berthisarejustm yownex-
periences!).PersonallyIfindthetheorbobenefitsgreatlyfrom abrightersound,butalightlycon-
structedluteplayedwithnailscansoundalittleharshifoneisnotcareful.M ostofm yinstrum ents
arebuiltbyIvoM agheriniwhodoesntshyaw ayfrom usingadecentam ountofwoodandIthink
theseinstrum entstendtosoundgreatwithnails.
3.Idontgetcallusesonm yfingersanym ore!W henIwanttogiveabitm ore,Icanuseabitm ore
nailandabitlessfleshthussavingm ypoorfingers.
4.Anotherinterestingside-effectofplayingwithnailsisthatIfindhistoricalarpeggiationonthe
theorboasdictatedinthetheorbobooksofAlessandroPiccininiandGirolam oKapsberger
m ucheasiertopulloffwithnails,infactIwouldalm ostgosofarastosaythattheyonlyreallywork
withnails.Thisisallsubjectivethoughandm aywellbeasaresultofthatnobodyreallytakeshis-
toricalarpeggiationonthetheorboseriously.Nowthatsapostinwaitingrightthere!W hereIof-tenstruggledinthepasttoplayKaspbergersprescribedrighthandfingeringsIfindthattheyare
greatlyfacilitatedwithnails.Kapsbergerm akesnom entionofnailsorlackthereof.
5.Ifindthestrum m ingpatternsofthebaroqueguitartobeconsiderablyeasierwithnailsandIalso
m uchpreferthesoundnow!Thisisalldowntopersonaltasteofcourse!
Ilookridiculous!Im constantlyridiculedbym ylong-suffering12yearolddaughterM iahforpol-
ishingm ynailsinpublic(sorryM iahsuchem barrassingparents..).Nailscanbeapaintom aintain
andtheycanbreak.O nce,whilstbrowsingthroughm usicforsaleatthelutesocietystallatthe
earlym usicexhibitioninGreenwichinLondonIwasaskedifIwasacuriousguitarist
Aswitheveryassum ptionregardingm odern-dayideasofhistoricaltechniques,letsnotrestonthe
laurelsofthepioneers!Ashistoricalperform ersitisourresponsibilitytoquestioneverythingwe
hear,seeordo.Letsencouragepeopletofindtheirownwayandletslearntoloveandem brace
thelim itationsofhistoricalperform ance!
ThankstoDiegoCantalupihttp://www.diegocantalupi.it/forsendingm ethefollowingim ages
ofFilippoDellaCasa(17371810).
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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15THO UGHTSO NTHEBESTW AYOFPLAY
3RDSEPTEM BER,2010AT21:50
AthoughtprovokingarticleRichard.Arethereothercom parisonsvalidherewiththeguitar?
Nailwearforinstance,nailshape,com binationoffleshandnailonthestring,uniform lengthof
StephenReck
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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nailornot-ringfingerslightlylonger?
Anyhoo,
Thanks
4THSEPTEM BER,2010AT17:40
Thankyouforthisinterestingpost.W hileIdontusenailsandneverstudiedm odernclassical
guitar,Iam veryinterestedintheevolutionofright-handpositioninluteplayingtoday.
AsnearasIcanjudge,theresurvivesjustasm uchevidenceforathum b-outtechniqueasfor
thum b-insidefrom the16thcenturyonward.Obviously,thum b-outtechniqueisrequiredfor
m orethansevencourses,andwasthem ostprom inentlydepictedstylefrom the17thcentury
onward.Luteniststoday,especiallybaroquelutenists,seem toshuntheauthenticthum b-outtechniqueforsom ethinginbetween,probablybecauseofanachronisticassociationswiththe
differencesbetweenright-handpositioninm odernclassicalguitarandlute.Ithinkitstim eto
getoverit.
TheoneconIm issedfrom yoursum m aryofthedisadvantagesofusingnailsinlute-playingis
thatyousim plycannotusenailsongutstringsunlessyouaream illionaire.
RA
4THSEPTEM BER,2010AT18:01
@ Roninterestedcom m ents,thanksforyourinput!
Itotallyagreewithwhatyousayregardingthum b-outtechniqueinthe16thcentury.People
canbereallyfunnyaboutthis.O nce,inam aster-classwithPaulODetteinLondonIwasnearly
lynchedforplayingsom e16thcenturym usicthum b-out!Paulwasgreatandpointedoutthat
althoughthereseem stobem orem entionofthum b-inthanthum b-out,thatittooshouldbe
consideredanoptionhistorically.
Iveheardlotsofinterestingreasoningaroundthissubjectincludingthatonlylargerlutes
whereplayedthum b-outbecausetheplayercouldntreachotherwise!Nonsense.Also,ifnails
werealsousedduringthe16thcenturyandIhavenodoubtthattheywerethenthisobvi-
ouslynecessitatesathum b-outtechnique!
Handsupforthegutstringspoint.M ythum bworksgreatwithgut,butm yfingerscansliceup
stringsifIplaytooloudly.Im stillscratchingm yheadaboutthisone,buttherem ustbeasolu-
RonAndrico
RichardSw eeney
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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tion!ActuallyIvealwayswantedtoaskAndrewLawrenceKingaboutthat,Ifigurehedknow
som ethingaboutit.
5THSEPTEM BER,2010AT23:07
Veryinterestingpoint!
Itriedtousenailsonm ylutes,andIplayedm ylastexam withthem odernguitar,usingvery
short(sym bolic)nailsandgutstrings(withsom eVilla-LobosandM artin).
W hatInowthink,aftersom eyearsofplayinglutesishere.
Idontusenailsonrenaissancelutes:Im notabletoobtainagoodsound,bothusingthum b-in
orthum b-out.
Thesituationisalm ostthesam eonthearchlute,butI(now)usenailsonthetheorbo,baroqueguitarandbaroquelute.
Thestrangethingisthatthebaroquelutesoundsm uchbetterwiththenails,andthearchlute
doesnt:tism eansitsnotaproblem concerningthedoublestrings.
Piccininiisperhapsthem ostfam ousplayerwhousedthenails.
Heexplainedalsoinaverydetailedwayhowtouseacom binationoftheflashofthefingertip
andnails:
chequandosifarunapizzicatasipiglierdettacordaconlasom m itdellacarne,&urtan-
dolaversoilfondo,sifar,chelugnalascisfuggiretutteduelecorde,efarannoarm onia
buonissim a..
whenyoupluckastring,youtouchthestringwiththehighestpartoftheflash,and,pushing
thestringtowardthesoundboard,youletthenailescapethetwostrings,anditsoundsvery
good(m aybesom eonecandoabettertranslation)
Inthesourcesyoum entioned,youshouldaddDallaCasa.
Hesaystasteggiareconleunghieandclearlyshowstheuseofthenailsontherighthand(Im
sendingyouaphotoItooksom yearsago:perhapsyoucanputithere).
AlsothereisasourceaboutFrancescodaM ilanousingsilverthim bleswithagoosefeatheron
it(using,Ithink,thum b-in)
Certifiedanhistoricaluseofthenails,form etherearesom eunansweredquestions.
Howcouldtheyusenailsonthinygutstrings?
Also,wheretheyabletohaveverysm oothnailswithouttheabrasivepaperwehaveandusetoday?
Inanycase,Im surethatonesystem isnotbetterthantheother,andbothwereusedatthe
DiegoCantalupi
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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sam etim e,andalsolater(Sorneverusedandlikednails).
Eachoneshuldm akeachoice,judgingwhatisbetterforhim ,histechnique,hisapproachwith
theinstrum entandhisestheticfeeling.
Andthesetwolastelem entsaretheheartofthem atter:itsenoughtohavealookatthis
videotounderstandthatnailsarenottherealproblem
http://www.youtube.com /watch?v=-NXO cPzfL2g
6THSEPTEM BER,2010AT11:03
@ Diego,thanksforyourcom m entsandfortheim agesofDallaCasaIveaddedthem tothe
post.
Irem em beralsoreadingaboutFrancescodaM ilanousingsilverthim blesonhisfingers.Thats
areallyinterestingoneandfoodforthoughtwithregardswhatsoundweassociatewith16thcenturylutem usic.
Ithinkyourapproachsoundsreallygreattobeabletoadaptonestechniquetodifferentin-
strum entsisagoodthinginm ybook,althoughpersonallyIvenotbeenabletodoitandprefer
tousethesam etechnique.Interestingly,Ihadanarchlute(byM agheriniofcourse!)whichI
thoughtsoundedfantasticwithnails.
M y10courselute(byJacobsen)doesntreallyworksowell,buttheinstrum entisalreadysobright(IboughtitwhenIplayedwithoutnailsandlovedthebrightnessthen)thatIhavetobe
verycarefulwhenIplayit.Im planningtoreplacethislutewithanotherinstrum entby
M agheriniandam confidentthatwillsolvetheproblem !
Thanksalsoforthelink!M rPiancaisaninterestingcasebuthasnothingwhatsoevertodo
withhistoricalperform ance.
28THSEPTEM BER,2010AT23:31
dearRichardIam veryhappytoreadyouropinion.Ivebeenstudyingrenaissancelutefor30
years(IstartedwithLucaPianca)andfinallyIknowsom eonewhoisthinkinglikem e.AlwaysI
playeditwithnails,Im sureitscorrecttoplaytheluteinthisway,thesoundislikeapearl(as
Piccininisays)thevoicesarebetterseparated,sothem usicisnotboring.Acom m enttorein-
forcethisopinionisthefactthatinm anypaintingsyoucanseethehandoftheplayervery
closetothebridge,Im surethatthesoundoftheluteisclosertoanharpsichordreatherthan
anHarp.W hatdoyouthink?
Iplayonlyrenaissancem usicespeciallyElisabethanperiod.Iplaytwo10courseslutesm ade
RichardSw eeney
nicolalessi
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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byLucBreton(Lausanne)
oneofthem wasownedbyJ.Bream ,andIm veryproudtoofit!
Pingback:RichardSweeney:An18thcenturytheorbo
12THJUNE,2012AT21:49
dearNicol,Ialsothinkthattheaestheticofabaroqueguitaroralutesoundwasverycloseto
anharpsichordasyouwriteinyourcom m ent.Richard,interestingpost!claudio
3RDAUGUST,2012AT08:34
Thisisapersonalpreference.Asyousay,thereisnocorrectwaytoplaybutonecanbem ore
orlessauthenticforthetim eandnow,itseem s,theplace.(W henwillitstop?)Theonlycri-
tiqueIhaveisthatm ostoftheexam plesofnailtechniquecom efrom theendofthelutes
prom inence,atthetim etheguitarwasalreadyfavouredatVersailles,andm ostofthem usic
thatIwanttoplaycom esfrom the16thcenturywhenfingernailswereevidentlyfrowned
uponinthebestcircles.Iagreewiththecom m entregardinggutstringsandIpreferthum bout
fingertiptoneandattackwiththehandonthebridge.Lastly,canornam entsbeplayedinfullif
thetem poisquick?Butwhoam I
.
3RDAUGUST,2012AT19:17
HiDavid,cheersforyourcom m ent!Doyouhaveasourcethatsaysthatplayingwithnailswas
frowneduponinthe16thcentury?Idbeinterestedtoseeit.
Im sureyourerightregardingpersonalpreference,Im rem indedofM aceandW eisscom -
m entsaboutnailplayingsoundingawful!O nethingIllsaytoscepticalnon-nailersisthatIve
alwaysm anagedtosurprisepeoplewiththesoundyoucanm akeontheluteortheorbowith
nails.TheredoesnthavetobeanythingharshaboutthesoundandIactuallym uchpreferthe
sound,butthatofcourseisjustanotherexam pleofpersonalpreferenceIguess!Listentom y
audiosam plesandjudgeforyourself.
4THAUGUST,2012AT03:27
Ishallhavetogobacktom ysourcesbutifyourreadThom asM acescom m entswithananny
likechillyoum aygettheim pressionthatthesom ewerem isguided.Isntthereacom m ent
claudioscozzafava
DavidRichards
RichardSw eeney
DavidRichards
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/
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alsointheVarietyoflutelessonsaboutscurveyknaves?
Ibelievethatitisnotpossibletotouch(acom m onlyusedwordinthiscontextim plyingthenib-
bleends)bothstringsatonceinadoublestrunginstrum entifoneusesthenailalone.Ifone
(horrorofhorrors)playsasinglestrunglutethenanythingwilldo,evenaplectrum ,except
perhapswithachitarrone.Thereisam pleevidenceofsinglestrungchitarronesandcertainly
m anym odernchitarronistsusethem butweretheyalteredinthelate17thcentury?Diana
Poultoncertainlythoughtso.
SothisiswhatIbelieve:throughouttheluteera,thefingertipswerepreferredgivingthat
lovelyhum anyelptothetheattackandadistinctlegatolikeanun-notchedorganpipeandre-
quiringdeliberatetem poswhichallowfullexpressionoftheexpectedornam ents.Onecould
notbereferedto(approvingly)asartificial(fullofartifice)unlessthem usicwasfullyorna-
m ented,whichitseldom isthesedays.Com paretheinventionsintheClavierbuchleintotheir
ornam entedcousinsintheW illhelm Freidem annversionforanappreciationofwhatwasex-pectedm id17thcentury.Ifoneoptsforfast(undanceable)tem pitheornam entsarenotpossi-
bleastheyneedtim etospeak.M usicisalivingartsoanythingisrightaslongasitissincere
andcom m unicative.W hetheritisauthenticisanotherthingandwhetherthatm attersisan-
otherthingalso.IplaytheBrahm schaconneforthelefthand.Itisdefinitelynotauthentic
baroquem usicbutIloveitanywayandhavenointentionofstopping.Thesam ewiththeBach
Busonichoralepreludes,pianisticphotographsandexquisite.W hatgetsupm ynoseistheoft
encounterednarcissisticandaggressivedefenceofevidentlyunauthenticperform anceprac-
ticeasright,frequentlyornam entedwithquoteslikeBachetalwouldhavedoneitthiswayiftheyhadourim porovedm oderninstrum ents.Iacknowledgethem oreresonantm odern
stringsandtheneedforaperform ingm usiciantohavequicklytunableinstrum ents(toavoid
penniesbeingthrown)whichleadsm etoanotherinterm inablepoint.M usicinthe16thcen-
turywasnotpublic:itwasprivateandhappenedm ostlyinthehom e.O fcoursethiswasnot
alwayssobutevenperform ersofthecallibreofDowlandplayedforsm allgroupsonly.Inthis
settingtherewasplentyoftim e.Therewerenotrainstocatchandnodestinationotherthan
bedafterwards.Halciondays.Perhapsitwastheneedsofprofessionalism ,m orevolum eand
m orereliabletuningandthedisplayofvirtuosity,thatchangedthings.Begining,likefootball,
ofcourseinItaly.W hateverhappenedtotherenaissance?Bestwishes,DavidRichards
4THNOVEM BER,2012AT15:16
Veryinterestingpost!Itriedbothoverm anyyears,anditseem stom ethatthestigm athatus-
ingnailshaswithm anylutenistsisjustoverthetop.Inm yview,itreallydependstoalarge
partonthephysicallayoutofthehandsoftheindividualplayer.Peoplehaveverydifferent
shapesoffingertips,aswellas\consistency\,ifIm aysayso.Andifonecom binesnailsandfin-gertips,this\hybrid\isevenm oreindividual.Soonecantsayonesizefitsall.Tim etolayoff
thedogm a.
PhilipGoeth
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4THNOVEM BER,2012AT16:55
HiPhilip,Icouldntagreem ore!
21STDECEM BER,2012AT22:26
PhilipGoeth,veryright!AlsothanksforthisarticleIchardAndfreedom forallchoosethe
techniquewhichisthem ostcom fortableforyou.Butisisagreatarttoshapeyournailsso
thattheyproduceannicesofttoneonhistoricalinstrum ents.http://www.youtube.com
/watch?v=d5PZlJ0tzsA&list=UU27LZvLPTJFa6m cPPqdM uRQ&index=1
25THJUNE,2013AT14:45
W hatawonderfullyillum inatingpage!Thereisgreatwisdom here...M ightIaddthatIagree
universallywitheveryone(esp.Rich&Philltim etobreakoutofthebox)andhaveadopteda
m ore\Iberian\approachtom usicm aking.W hatfreedom andwithsuchinstinctivejoy!After
all,weareallindividualintheeye\s...NicetoneontheintroHerm an...areyousellingsom e-
thing?;)M erryonpluckers...
CO M M ENTSARECLO SED.
RichardSw eeney
Herm anVandecauter
GordonHawthorne
e best way of play | Richard Sweeney http://richardsweeney.com/the-best-way-of-play/