Pumping Nylon [ペーパーバック]

This review applies to book the book and the DVD.

Incorporating these technical exercises into your practice will yield rapid improvement. But a lot of things could be improved. For instance, a lot of space is wasted in the "Horizontal Character Builders" section where 3 pages are used to show the exercises on all 6 strings when it would have been adequate to show it on 1 string--it was a good time to use the word, "etcetera". And, Tennant also failed in this section to suggest using the same exercise using finger pairs 2 & 3 and 3 & 4. He also bores us on the DVD and takes up valuable space by tediously showing each finger combination for most of the warm-ups.

Most of the exercises aren't original and Tennant misses the opportunity to add some originality. For instance, a good suggestion would have been to practice the right and left hand walking exercises without looking at your hands, which is the how much of what we play is eventually accomplished. And, many of the left hand warm-ups, especially the finger independence stretches should be attempted first on higher frets where the stretch is easier, e.g., 6-9, and then gradually translated to frets 1-4. Though Tennant does encourage exploration, most students will blindly follow the leader.

Most of his example pieces are inappropriate in a book of this nature. The pieces are way too advanced for focusing on technique--you'll spend more time figuring out how to play the pieces than utilizing the technique. For instance, after Tennant presents the basics of how to barre, he offers two pieces written by his buddies Andrew York and Brian Head that are only appropriate for the advanced intermediate player. They, and other pieces, are much too complicated for the average guitarist to bother with. Simpler pieces would have been more appropriate.

The companion DVD addresses only basic material, how to hold the guitar, how to pluck a string, how to file nails, etc. And, it's disappointing that there is only one DVD that only covers the daily warm-up exercises. I was looking forward to seeing Tennant play The Spider and Odair's Favorite Drill played with blazing speed and the flamenco fragments played at speed. So, in addition to many of the examples being inappropriate in a book of this nature, they're not even recorded on the DVD! Now, I realize that there wasn't room on just one DVD for everything, that's why there should have been additional DVD volumes of the exercises. Also, since there are no metronome markings, you're left to wonder exactly what speed you should try and achieve and what some of the exercises and pieces would sound like when played fast. It's good to know what ideal to strive for.

Tennant makes the same mistakes on the DVD as in his book. For instance, near the beginning of the DVD, after explaining the difference between the rest stroke and free stroke, he plays an illustrative piece by Dowland called The Frog Galliard, (which isn't even in his book). The piece is much too advanced and played way too fast for a beginner who is trying to focus on learning the rest and free strokes to get anything from. There are dozens of slow, simple pieces by Giuliani, Carulli, Sor, Coste and others which are in the public domain, and that would have provided the beginner with a good insight into the application of rest and free strokes in a piece of music. He also states (incorrectly) that rest strokes are mostly for renaissance and baroque period pieces which might lead some students to not practice them if all they wanted to learn was Sor, Tarrega and other more "modern" composers.

Tennant is an excellent presenter and a lot is to be gained from watching this video and there is a lot of valuable information in the book. But the book badly needs a revision and a good "weeding-out" and more DVDs need to be made covering all the book's material with simple, relevant examples substituted for The Frog Galliard and other poor examples.

I'm an intermediate classical guitarist, and recently picked this book up to improve my technique and to strengthen my hands. On the first count, I can't really say it's been too successful yet, but then, I've only gone through the first few pages. HOWEVER, on the second count, I can definitely say that the exercises included in this book are *awesome* for developing strength in the left hand, and for gaining independence of the fingers on the left hand. I can really see and feel a difference in the solidity of my fingering after just a few weeks of doing the exercises. But man, oh man, do *not* open this book thinking that it's going to be a cake walk, because it isn't. The exercises are difficult, and they hurt and are frustrating at first. However, if you can stick to them, and are humble enough to accept the fact that your technique might just be weaker than you thought - then you will reap rewards from this book.

The book also contains Giuliani's entire 120 exercises for the right hand - having done these independently myself, I can attest that they are invaluable, and make a fine addition to this book.

I had always been put off by the title - sounding more appropriate for Rock-style playing and players. It wasn't until I learned more about the author that I decided to get this book.

I had always thought of myself as an advanced-beginner (not quite intermediate), based on having gone through a couple of years of private lessons when I was a teenager and the types of pieces I was able to play. Nearly 30 years removed from those lessons, I was depressed - thinking that I had reached my ultimate playing level.

I've only had the book a week, and am working on the finger independence exercises. It has made me realize that instruction manuals normally consist of graduated pieces without much guidance. These exercises aren't for audiences (i.e. not much to listen to) and I don't think I would have appreciated them as a youngster, but at this point in my life they have rekindled my enthusiam.

The fingernail shaping will always have loud detractors. The truth of the matter is, if you are happy with your current technique stay with it. If you're like me and have experimented with different nail shapes without instruction, the author gives a detailed explanation of his method. I plan to read and re-read that section to see if it makes sense to me before making up my mind.

I titled my review as I did because I feel that there is need for playing pieces as the other instruction books have, and that many people may not be receptive to this type of instruction. That is perfectly normal. However, I think that at some point if the student continues playing, this book will help open the doors to the world beyond beginning-level pieces and continue to be a valued reference regardless of how skilled the student becomes. 100 years from now, this book will be considered a "classic" (and will still be in print).