As confessed I have weak Spanish but have been going through this beautifully produced new gem with much pleasure.
I really appreicate the detailed method of fingering notation developed here. It can serve several different styles. The musical exercises are rich and numerous and progress nicely. They cover the aerial finger positions and technique very thoroughly. Once complete a companion CD to play along with would be perfect. I cannot wait for the discussions on vibrato and more volume techniques, in volume two I expect.
The author address performance concerns and personal methodology right up front. This helps prevent the student from being an a vacuum divorced from real life and helps set the excitement and responsibilities of making music before delving into purely technical pursuits.
The examples of the styles of current major players is a smart way to start out the actual exercises so a new student has clear examples and pictures to try them all out and find what fits them.
Among the "Schools" illustrated, Russian, American, Canadian, it would be nice if two of the great early players could be included as well: Rockmore (the Lithuanian school since American is already taken?) and Hoffman (Hollywood school since American...?) these schools/techniques deserve examples since others derive from them. Although the Sexton school is not mentioned much generally, some beginners seem to start with the wing technique and it deserves discussion as well so an overall comparison can be made. But both Sexton and Takiuchi's books are listed in the appendex which is also very complete.
The illustrations are clear and support as well as expand the exercise scores which are fully fingered and provide an enjoyable challenge and are brief enough to fit into short focused practice which is usually the best approach.
The historical and technical introductions look sound, though someone more Spanish literate will have to say more. The section on tuning is great and addresses some pitfalls, like letting a cable touch the volume loop, which will save beginners confusion. In the case of the EWPro along with the very clear examples of pitch tuning for interval spacing, "full range" tuning setting zero beat at your "zero" position might be handy to discuss too as this is another way to lock down your range and with the EWPro and it's segmented octave selection is a good consideration.
How exciting it is to have a new book! Many thanks to the author and please keep the installments coming.
PS: I enjoy the lingual irony that the Spanish idiom for 'to play' is tocar.
