cbecker78 -> RE: Sequential Planting (Sep. 14 2012 21:27:17)
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ORIGINAL: johnnefastis cbecker78 your technique sounds interesting but I am wondering if it limits the amount of notes ringing through the arpeggio. From what I understand, if you were to play full planted arpeggios pimami pimami would only have one note actually ringing at a time. Your approach I think you would have two. Well not quite. You would only do a full plant on pima, then start the sequential plant descending on the aimp. But even if you did do a full plant in both directions, lets say on strings 4,3,2,1,2,3,4, where would you make the plants? Obviously at the start, and then again maybe at the top? Maybe your confusion is that you do not return your finger to the string in a full plant. You just start with all four fingers on the strings, and then sound them one at a time. For up, it would be pima, strings 4,3,2,1, and when you are done, they would all be ringing. Well, actually you would have m on string 2 when you are done because you would have already started the sequential plant for the descending part of the arpegio (by my approach anyway). Or if you were playing full plants with pimapima, it would be plant-p-i-m-a-plant-p-i-m-a. Strings would start ringing on the first P, and would all keep sounding until the second plant. The only time you would be returning fingers to a string between plants like you describe is if you are immidiately about to use it in the next note or intentionally muting strings. (I haven't learned any muting techniqes yet though). The "sorta rules" I was given is use full plants only if ascending and you don't need those other strings to keep ringing. otherwise it is sequential planting in both directions or else just prepared strokes. The actions for prepared and planted are the same (i.e., find string, depress string, release string), but planting involves having the "next finger" on the string at the same time as or immediately before sounding the note you are playing. so your hand is "planted"). Prepared strokes are just the same only fingers only contact the string about to be played. (again, this is just the terminology for these techniques that I was given). I'll try to make a video this weekend and put it up to at least show what I am talking about if it is still not clear. Hopefully I could handle that even with my ridiculous camera anxiety... but no promises! [&:] quote:
One thing I am also wondering which I think relates to this is.... My first teacher who was taught at Rotterdam encouraged to "play into the palm". This is to develop hand and arm muscles to work rather than the fingers. I think it makes sense but I always wonder how the finger should return after it has struck the note. If it returned to the string it would be full planting right ? I aim to try and return it so that it hovers back over the string, but I am not sure if thats the best way to practice. Hope that makes sense, I should probably just upload a video. Yeah, I have an excercise that encourages that "into the palm" playing too... a lot of people, especially me, self teach a free stroke that sorta plucks "up" from the main knuckle and only back at the second knuckle. The palm muting associated with travis-style picking sort of encourages that motion I think. for classical free stroke, it's almost impossible (so I've been told) to get good volume that way. But at the same time my teacher mentioned that some university programs teach that, so I don't know. Specifically to your question on "return", my understanding is that after plucking the note, your finger should return to a relaxed poise more or less hovering over the strings like you indicate unless you are about to do another full with all four fingers or sequential plant with that finger. Ok, hope that helps clarify what I was talking about!
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