![]() ![]() I ’m not a historian, so it might be argued that I ’m unqualified to comment on historical matters. Ophee provided the best available evidence for his conclusion that Aguado and Sor used rest stroke-at least at the time he wrote his article.(5)īefore going on, I should address a possible criticism that might be directed at my examination.Ophee accurately reproduced all citations from the treatises of Aguado and Sor.I ’m approaching my examination with two assumptions: Thus, I wish to examine the evidence he offered and the conclusions he drew from it. On closely reading Ophee ’s apoyando article, however, I found that he poorly argued his case. In regards to the rest stroke with the other fingers of the right hand Matanya Ophee has pointed out various cases in which it seems this technique may have been employed, although without the use of the term “rest stroke, ” by Federico Moretti, Fernando Sor, or Dionisio Aguado.(4) Ophee ’s article is also cited in the New Grove Dictionary of Music and Musicians entry for Francisco Tárrega.(3) Further, in a 2004 Soundboard article, “The Tárrega School ” Julio Gimeno García writes: In a footnote, Jeffery credits Ophee for calling attention to this information. Apoyando, for example, is discussed: see Lesson 50, in which Aguado insists that the right hand finger, after striking two strings, shall come to rest on the third.(2) ![]() Hand-positions, angle of the fingers, type of stroke, use of the nails, arpeggio technique, special effects-are there in terms which are directly relevant to the modern player. No major changes have taken place since his day. It may seem surprising to some but it is true, that all the essentials of today ’s guitar technique are already in Aguado. For example, Brian Jeffery, in his introduction to the Tecla edition of Aguado ’s New Guitar Method, writes: ![]() In his 1982 Guitar Review article “The History of Apoyando, ” Matanya Ophee concluded that Fernando Sor and Dionisio Aguado used rest stroke.(1) This conclusion quietly settled into the guitar history paradigm. This is particularly likely in the field of guitar history, where research into any given question is often left to a handful of people, and conclusions may be accepted with little critical inquiry by the guitar community. )įrom time to time, questionable ideas come to be accepted as true. ![]() To download a PDF of this article, click here. Since the author of this conclusion is a well known guitar historian, I felt it necessary to be thorough in my examination. (This is an article in which I examine a widely cited conclusion regarding the history of guitar technique. A closer look at Matanya Ophee’s 1982 Guitar Review article: ![]()
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