Ruphus -> RE: Picado attack, do you really need to choose only ONE? (Jan. 1 2011 18:50:22)
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ORIGINAL: orsonw Ruphus, my experience is similar to yours. I spent 8 years doing it all wrong and pushing through counter-productive neuromuscular patterns and have spent the last two going back to basics (not for the first time!) but this time with better knowledge, this forum has been a great help) I have found the "hare's" way got me so far and then I got stuck, I have had to go back to learn the "hedgehog" way. Hi Orson, The funny thing in my case is that the more insight on ergonomics gathered, the more I realize / remember to initially have been on a useful way. The tortous path yet having started out, after a couple years when I saw Andres Segovia on German TV for the first time. Noticing his bent wrist, it appeared only plausible to me that I had to imitate the master in order to achieve expertly right-hand technique. So, went from natural posture and planting to completely counter-productive, from then on wondering why I would become rather worse from year to year. With a bent wrist / aligning the row of fingertips parallel to the strings, hence producing a 90° attack angle, the uneven length of fingers, especially of the m throws you into a practical contradiction, followed by inherently terrible "work around" in the way of awkward and blocking extensor employment. Whereas, in my observation with ergonomical playing, extensors other than for rasgueados ideally should be at suspense - almost- entirely. What I ended up with after many years, sadly was some kind of "faked savvy" ( for which me partially even received praise from conservatory graduates; though they mainly admired my musical improvisation ability ), a "savvy" however that contained huge neurological and physical waste. Superfluous and exhausting mastery of athletic work-around, which if only invested into ergonomical playing instead would have had me play cricles around myself. I think the general advice today to everyone, including highly advanced fellow guitarists should be: If it strains, suggest on principle that there is something wrong. - If even just a minute extra contraction, yet easily effective enough as chock. Being constantly prepared for going back, analysing what is being the cause and building up from there / only speeding up provided tensionless execution, to me seems the omni formula to firmly stick to ( whenever possible ). And yet when having arrived in cockaigne of efficiency, the protagonist / antagonist-battle bogey might still be waylaying on you. Waiting for the rashing moment that you fail to realize how you are speeding up, taking a sneaked in dysfunctional neuro.exe with you. Waiting for you to implement the obstacle into your routine. ( Loving to sit on your shoulder while you e.g. unsuspectingly practise before TV. [;)] ) I do not think that popular artists who appear to becoming less seamless later in their career to be all prone to physical aging, or to inevitably be symptomatic for less rehearsal. As rather likely, I tend to suspecting blockage-bogey to have landed his dreaded coup. Whispering into millions of ears: "Yeah, mighty fine now. Just don´t be so limp, Jango, speed it up already; force it through!" ( Caution: Garlic or silvery tuning forks in the guitar case might not be of help. [8D] ) Ruphus
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