Ruphus -> RE: Rasgueo-Rest (Dec. 10 2011 11:32:37)
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Actually, it seems to me as if 5 of the 11 given examples would not present a suspended forearm, but a rest of the forearm near the ellbow. You would not want a suspended forearm for several reasons. ( See Prof. Iznaolas explanations below.) Independently from whether you being tall and thinking to be executing without superfluous efforts, which in view of Richard´s described approach ought to be contradictive in itself, as any withhold of the arms weight just has to be equalling a pulling up by the shoulder in the same time. Another point that remains proportionally due is that the longer your limbs the more parallel your fingers will end up to the strings. Requiring you to either: a. lift the guitar towards vertical b. bend the wrist sideways in a hampering way c. extend the lower bouts diameter for to gain some distance / rectangle / accomodate your limbs. With the first two solutions not really compensating for a mismatch. - And I assume that someone like Grisha, who very impressively managed so much in efficiency, by now would had found a way to relieve the shoulder, if there was one with thelike resort examples of b. and c. Apart from the question whether you feel to come along fine with the guitars standard dimensions, could it really be that it was fitting perfectly to say anyone between 150 and 230 cm? It would be appearing rather pragmatical to me if you stuck such an arm rest like that elevating plexi thing on your lower bout for a couple of days first, and commented on it afterwards. Here an exerpt of why a suspended forearm isn´t really what you want for ergonomical reasons. quote:
Developing a keenly refined muscular sense for poise is one of the key issues in technical training. Without it our control of active and passive resources will be impaired. There are several anatomical parts of our body which are naturally poised: the head; the lower jaw. When we are awake, our head is kept vertical by the tonus of the neck muscles, which, unbeknown to us and without our feeling any effort whatsoever, overcome the pull of gravity. Likewise the muscles that keep our mouth closed. This is why, when we sleep and our musculature relaxes completely, our jaw falls open, our head falls to our chest. The fact that, under normal circumstances, we do not feel effort in those muscles of the neck and head is because the tension produced by their tonic contraction is totally functional; it is no more, nor less, than needed to overcome gravity. We do not feel effort. What we feel is that those elements float, as if weightless. This ‘floating’ sensation is characteristic of all properly poised elements and, more generally, of properly applied functional tension if certain conditions pertaining to the attitude of the joints articulating those elements ... a. Arm Leverage Gravity being an inescapable, perennial presence in our lives, it is to our advantage to recognise and utilise its pull when embarking in motor activity. In terms of technique this is what we have called passive resources. The contradictory approaches among players and teachers to right hand technique arise from a lack of awareness, across the board, about the importance of this factor. A case in point is that of arm leverage. The connection between the demeanour of the limb on the instrument and finger activity, though recognised, is treated in casual and superficial ways, if at all, in traditional methodology. Forearm leverage is defined by the point of contact chosen for support when placing it on the instrument. That point of contact is the fulcrum of a lever of which the upper arm, or the shoulder, acts as the force and the pull of gravity is the load or resistance. The point of application upon which gravity exercises its pull (the centre of gravity) is located just below the elbow. If the fulcrum (point of contact with instrument) is located ahead of the centre of gravity, towards the wrist, the arm mechanism acts as a class II lever (wheelbarrow: load between fulcrum and force). If left passively to respond to the pull of gravity, the arm will fall on the elbow side and the forearm and hand will fly away from the strings. To approach the strings with the fingers, the shoulder has to involve its muscles actively to lift the upper arm, an action that, through the fixed flexion of the elbow joint, approximates the forearm and, therefore, the hand to the strings. In summary, a short forearm leverage using a point of support mid-way between elbow and wrist uses active resources to approach strings, passive resources to get away from strings. When, on the other hand, the fulcrum is close to the elbow joint, approximately coinciding with the centre of gravity, arm mechanism acts as a class III lever (drawbridge).[2] The resistance is no longer placed at the elbow joint, whose centre of gravity is now neutralised, and the new load is the weight of the forearm and hand. If left to respond to the pull of gravity, forearm and hand will fall down towards strings. That is to say, the approach to the string is the result of passive resources, while getting away from strings will be the effect of active resources (essentially, the action of the forearm flexors located in the upper arm). A long forearm leverage using a point of support near the elbow joint acts in exactly opposite fashion to that of the short forearm approach. Ruphus
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