Ruphus -> RE: My 5 piece bracing system (Sep. 14 2011 16:47:25)
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ORIGINAL: estebanana I've had the same thing with the cello. Some teachers are stinkers about the bow and others make a comment now and then. Everyones hand and arm length is different. Yes and no. If the instrument is too small in relation to the players body size: yes; if about relation of extremeties in regard to each other: commonly no. Just envision the three limbs, upper arm, lower arm, hand, slack dangling down from the shoulder joint. Now imagine how to position them optimally as to have the hand placed at string hight with the least active ( extra ) effort. Taking into consideration suspenses and leverings there remains only one ergonomical way. Iznaola states that you want your hand to be pending, and rather "fall" into the strings ( be there from get go / "The hare and the hedgehog" principle ), not levered away ( taking "eagle swoop" planting, as I´d call it ), and who actually cared to explore on this, will realize its physiological benefits. I have seen it happen with old hands after only a ~ 20 minute introduction, with them coming back to me elated after only a couple of days of new practice. I mean, just don´t repell news from the get go without conscious trying first. But if you chose to reject still, again, certainly no offence taken by me. What the bow is concerned, I have no special insights, but observed this: When its is about economicallly efficient lifting of the arm, an ellbow kept close to the torso will do. ( Correspondingly adviced for posture at painting, for motor bike riding, etc.) Whereas when it is about brief precision a high ellbow can be handy ( like in chemical laboratories where learners are instructed to raise the ellbow while filling test tubes ). Anyway, I am not trying to contribute on ergonomics for to annoy anyone about his habits, but to spread practical bits for those who seek them. ( And no: For there being virtuousos who overcome counter productive posture, it won´t mean such to be in the same time what one should mimic for optimal application [ least efforts]. After all it could be why we don´t see rational conservatories teaching a Glen Gould or Luis Armstrong technique, despite the unquestionable results these artists achieved). Richard, Agreed, a pointy leverage will excert more pressure on vessels than a plain one. What I meant is that you can have your hand get numb from upper arm resting too, as I remember from lengthy acoustic guitar sessions, when I used to rest the upper arm on the bout. Ruphus
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