Emilio pujol
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But whether it was his troubled, searching soul or a medical reason brought him to playing without nails, he seems to have made the most of his discovery, and encouraged his pupils, including Pujol, to cut their nails off. Others, such as Domingo Prat and Isaias Savio, claim that Tárrega suffered badly from a hardening of the arteries, which caused his nails to wither. Once he did realise the superiority of flesh playing, Tárrega withdrew from public concerts for some time… He had to work constantly in order to conquer the difficulties of the new technique in which he was to be master and pupil at once, and when at last these difficulties were overcome, those who heard Tárrega play will never forget the wonderfully pure sound his guitar produced”. He then discusses how strings have been plucked by artists in the past, such as vihuela and lute players, but especially the two Spaniards, Sor (flesh) and Aguado (nails).įinally he gets to his teacher, Tárrega, who had learned initially from Aguado’s method – “He did not realise in those days the possibility of producing a better tone. As the guitarist can’t have both, hence the dilemma. Pujol starts by attempting a scientific explanation of sound, and comes to the obvious conclusion that a string will sound different depending on what it is struck with, specifically flesh or nail.
Emilio pujol pdf#
HERE is a pdf of the English translation of this out of print book. Regarding the nails, no-nails debate, Pujol wrote one of the most important essays on the subject, entitled “ The dilemma of timbre on the guitar“. The volume ends with over thirty “Estudios Complementarios”. The fourth volume includes many effects, such as tambora, rasgueado, more advanced use of harmonics and tremolo, trills, etc, etc.
Emilio pujol professional#
The student who works through volumes one to three should have little fear of professional scores.
Emilio pujol full#
There are thirty nine full studies and many short exercises. The third volume intensifies the study, using the full range of the fretboard. The volume ends with twelve studies and a duet. The second volume gets down to playing the instrument, with many exercises for both hands, covering individual movements of the fingers and thumb, the Barre, chords, arpeggios, scales, independence of finger movements, slurs, harmonics, and tuning the 6th string to D. The first volume provides much useful information on the guitar – its physical make up, the thickness of the strings, the use of the turnavoz, the notes and intervals on the fretboard – and the techniques of both hands.
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English translation of first three volumes by Editions Orphee) is a four-volume treatise. The Escuela Razonada de la Guitarra (pub. Pascal Roche, in the third volume of his tutor (see Technique) provides an interesting insight into Pujol’s manner of playing: “the brilliant Miguel Llobet, the delicate Pujol”. So much so, he dedicated his life to forwarding, through his books and teaching, the principles of technique he learned from his master. Emilio Pujol was transfixed by Francisco Tárrega‘s playing.