Ruphus -> RE: Picado attack, do you really need to choose only ONE? (Jan. 3 2011 2:15:02)
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Orson explained excellently on individual limps self-blockage! ( Can drive you nuts over decades; and at worst even bring you focal dystonia ... The sudden horror for roughly 5% of musicians, at times ending proffesionals´career.) quote:
ORIGINAL: Ricardo So then if he DOESN"T have too much tension, then I am not understanding what Ruphus is on about...nor the pinky thing since tuto is curling it up quite tight..... Maybe I should have expressed myself better. No question, strong attack can´t be achieved without contraction. The difference between "healthy / useful tension" and "countering tension" is where the contaction is being allocated. The point is to have tension distributed practically / physiologically coherently. Or better to say: Definitly not in the corresponding antagonist of an intended movement. If antagonists being optimally released protagonist will be able to freely distribute all of the invested contraction and with that achieve aimed impact with the least neuronal energy required. In fact the performer´s example in the youtube clip wonderfully demonstrates economical technique. Although he is partially curling in the pinky a tad over idle ( can´t really see where he be "curling in quite tight" ), this slight over-engagement has little to nearly no blocking effect to his generally optimal posture. Keep in mind that an idle hand won´t be meaning flat fingers. If you lay down on your back with your arms in a slight angle away from your body and with the palms pointing upwards ( ergo, relaxed position for arms and hands ), and loosen your hands completely the fingers will be ending up slightly curled in, as such being the idle poise. So, there is a fundamental difference in contraction between a pinky occasionally curled in over idle position, like in the video, and a pinky that would be straightened out / extended. An extended finger ( and worse even a straddled thumb, which effects all four fingers! ) does block neighbouring fingers considerably. Whereas Justo Fernandez´ point of departure with the hand in a loosly closing shape ( as if one was about to grab a shovel shaft or thelike ), providing the perfect launching pad for snapping finger ( tips ). Accordingly, what we see in that clip is energetic plugging, yet without any strain and blockage. This artists demonstrates about ideally what me and fellow posters have been trying to describe. quote:
I don't think there is one 'proper way' I depends on which regard considered. In regard of ergonomics for common limps on the one hand there always extants that one most efficient physiological engagement, whereas in regard of proper approach on the other hand ways being indivually dependening on the manifold ( vastly invisible, yet crucial ) habits individual performers come to execute with. - An aspect so significant in didactics, which at best be capable of recognizing strengths and weaknesses of a student and accordingly be coordinating individual exercises to demand. quote:
I should keep it simple........ or simplify the complex. I think it to be hitting the nail on its head, - even beyond the subject. I understand all arts secret being reduction. Admired virtuoisity, more often than not tried to be reached through athletics ( hence additive strategy ) by the - reverent - enthusiast, whilst in fact proficienct execution being the crop of minimalism in efforts and physical engagement. quote:
I think for some people excessive tension is never an issue To this however, I wholeheartedly object. To aimed execution, unrelated tension ought to always be an issue on the very principle of mechanism. - It is a pleasure talking about this with fellow fiddlers. A very interesting topic, especially to me with a concerning journey in the wake. ( First decade messing around exclusively for spontaneous fun, next two decades increasingly yet vainly seeking for the elixir, with finally the snap in the head yet gradually taking place over recent years. There used to be / commonly still being so little available on functionality. Except for who would rather excpetionally luckily be with a didactically skilled teacher or with a highly inspiring player as mentor. Fantastic to have ( how me wished to only have had such ages ago! - And how nice to be deeming that some of fellow musicians enjoy such on their enviable way.) Thus, how useful for everyone to at a time generally be starting out or resuming with basic insights and inner images of what has spiders running uppon the strings without counters or stucking at that. Unless being blessed with a gifted ( / updated ) teacher, concise knowledge as possible standard ought to be priceless beforehand. With in the same time no reason to dreaden overthinking, due to generally constructive knowledge. For whom interested, here an example of specific information: http://www.egta.co.uk/content/restandfree#IIc A good read to start with, and more thelike interesting articles provided on that kindly granted website, waiting to be combined with personal empirics and demands to desire. ... If desired, naturally. [;)] Ruphus
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