journeyman
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tremolo "bounce"
I have a question regarding technique and I'll try to articulate it as best I can. When playing a tremolo on the high string and then "bouncing" to a
lower note and back to the high tremolo, the difficulty seems to be in not creating a pause or break in the tremolo. My question is this: When
returning to the high tremolo from the lower note, does the risha attack the high string with a downstroke or an upstroke. Assuming the lower note is
played with a downstroke, returning to the tremolo with a downstroke would mean two downstrokes in a row. Returning to the tremolo with an upstroke
means coming below the upper string before the attack, which seems slow. Any advice on this?
Thanks in advance,
Roy
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Arto
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I know absolutely nothing about oud here, but the question put a smile on my face as this has sometimes been a debated issue in classical mandolin
playing. In classical mandolin, similar technique is known as "duo style", "tremolo-staccato", "canto accompagnato" etc - basically meaning playing a
tremoloed melody line while picking accompanying single notes on a lower (pitch wise) string (or sometimes higher, or both).
In mandolin playing, the authors and teachers have different opinions among themselves. Most seem to say you should play lower note downstroke and
continue tremolo also starting with downstroke; at least one world-class artist says you MUST re-start tremolo with upstroke; and still others (I
suppose the wisest ones IMHO) say "it depends".
waiting to hear about oud playing :-) Arto
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journeyman
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Thanks Arto,
That's about what I thought. When I'm doing it and I manage to play one lower note and bounce back with a seamless tremolo, I try to see exactly
what I did. So far I'm haven't been able to catch it. I think that I am returning to the tremolo with a downstroke, but I'm not sure. I'll keep
trying. If anyone has any definite opinions on this though, it would be great. Brian??
Roy
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Brian Prunka
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I don't know. I've tried to see what Simon does, but it's too fast. Maybe I can film him and slow it down . . .
Najib did say something which might help, that you should think of tremolo as starting in the air, before you get to the string. So in a way, it
doesn't start on a downstroke or an upstroke . . . it just starts. Of course, in reality, in must be coming on one or the other, but that that's not
how you approach it. Maybe this makes sense, or maybe not.
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samzayed
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I read this earlier today when I was at work, and I couldn't wait to go home and try it to see what I do. Now I'm just a hack oud player, but when I
do it, I only stroke down on the low notes, but always stroke up on high string (where the tremelo is being done). My right hand has almost a
"stirring" like rotation, and its not slow despite the contrast from down to up. When you stroke down on the low, you stroke away from the face, but
when you stroke up on the higher pitched string you bring the pick back towards the face. I hope this helps more than confuses 
This technique always blew me away, especially before I even picked up an oud. When I finally figured out how its done, I realized the hand can be
quicker than ear
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journeyman
Oud Junkie
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I saw this computerized model of the body mechanics involved in long distance fly casting. The software could translate the information, derived from
a series of very rapid action photos, into an image that showed the exact muscle groups involved in the movement. The same thing was done with a major
league baseball pitcher. I always thought it would be great to do the same with someone who has superior picking technique, like Simon Shaheen on the
oud or George Benson on the guitar. It could be done and the technology is there to do it. Not that technique by itself results in musical expression,
but I have been playing the guitar a long time and I still don't understand picking technique beyond a certain point. Anyone know about this
technology?
Roy
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