kitarist -> RE: Some thughts and questions about Picado (Dec. 27 2017 17:24:25)
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quote:
ORIGINAL: Ronny After a couple hours of slow practicing i noticed that i don't need to push downward on the string while planting Right, if you are just planting, i.e. positioning, you have not yet initiated the stroke movement, so you would not be pushing down at that moment - your finger is just touching the string at the right place on your finger, ready to go. quote:
ORIGINAL: Ronny but it's all about while forcing the finger tips through the string ( which is a sideway movement ) i need to keep the wrist in a very fixed position to support the finger movement. If i plant little bit deeper in the finger tip i get the push down action as a by product of the finger sidways movement. In other words while the finger is just trying to force itself through the string it planted on to rest on the, the string will get pushed down and rolls over the tip untill snap off of the nail at the peak of the tension. Planting little deeper in in the tip will give a bigger snap which leeads to a bigger vibration and sound. I think the emphases on pushing down the string creates unwanted confusion in picado. The pushing down will be be a by-product of the sidways movement of the finger. please correct me if im wrong. This isn't quite right. Yes the pushing down is in a way a by-product of the movement of your fingertip and of its interaction with the string, but you ARE pushing down(*) (there is a force component into the soundboard, along with a force component sideways). Also, changing the place you plant on your fingertip is not a good strategy for controlling the amount of pushing-down - since doing so means you are not really deriving the benefits of consistent planting for precision and speed. Varying the setup of your hand so the "hinge" of the MCP joint is less or more behind the string you are playing (well, the vertical projection of the hinge onto the plane of the strings) is typically how you would do it instead. But this is just an approximation, or a model - not the complete reality. To zeroth approximation, your finger is curved but "stiff", only rotating from the MCP joint - like a curved pendulum (which makes the fingertip move in an arc). The placement of the joint has to be so that it allows the arc of the fingertip movement to push the string down and out of the way in just the right way - as opposed to your fingertip just getting stuck. How curved your finger is depends on comfort/preference. But in reality accomplished players can use other degrees of freedom to control the tone and volume or for string-crossing(**) - they can allow flexibility in the finger segments, i.e. moving a bit from the second and/or tip joints. Beginners can't think about all that, though. And I haven't really mentioned angles or wrist setup or nails shape or that ami fingers have different lengths or.. Also, [it seems to me that] there is not just one way to achieve amazing technique - partly because of the individual anatomical differences, but also it seems that there are many ways to make it work. Basically the equation of technical greatness has multiple valid solutions :-) It is almost easier to describe what not to do or what not to focus on. (*) If you don't push down at all, it will be your finger going around the string instead of the string going around the finger - try slowly dragging your finger across the strings - your fingertip will travel up and down as it dips between the strings and then "climbs" to go over each string as you drag it gently from trebles to basses. (**) Ricardo talks about this in another thread - basically you have to be able to play not just the string you are on but also the strings on either side of it, from the same hand/wrist/joint position; this necessitates some movement from the other two joints. EDITED to add the "If you don't push down at all" paragraph.
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