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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Arpeggio - Help!! (in reply to Guest)
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Probably the most powerful learning tool is the plant. 1. full plant. say you are playing a descending arpeggio pima, that is, four notes on the four strings, thumb, index, middle, ring in that order. Place all four on the strings. Now play the arpeggio, slowly and firmly. This trains you to keep the fingers near the string, which improves accuracy and helps attain quickness. 2. sequential plant. same thing, but keep the fingers above the strings. Before you play with thumb, put the thumb on the string, then play. Then put the index on string, then play. then you put the middle on string, then play. finally you put the ring on string, then play. This does the same thing but it is a more flexible technique than the other. If you practice this every day, you should make good progress on this technique.
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Date Oct. 31 2005 20:51:11
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Arpeggio - Help!! (in reply to Guest)
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Kieron, I don't think the hand really works that way--the fingers are interconnected by nature and it probably doesn't work to try to separate them. For example, it's often pointed out of some players such as John Williams or Vicente Amigo that a fault is that they are pointing out their little finger. Supposedly they are introducing tension into their hands by doing this. But it seems a little silly to critique the best players on the planet. The hand is a lot more complicated than that. Actually, it's probably necessary, at least for them, to stick out their little finger. When I play, I have it sticking out a little bit. It seems to "clear space" in the fingers for the other fingers to move more clearly. Another criticism of certain top fingers is a tendency for the LH pinky to fly a bit. But if the pinky gets there when it needs to, there is nothing wrong. And perhaps trying to corral this finger excessively leads to excessive tension, not other way around. On the other hand, it's probably a more common fault of amateurs to let their fingers fly TOO much, rather than too little, so perhaps it's not bad advice to err on this side. By practicing RH exercises such as planting and stacatto, you will quickly get them in line. As far as the LH, there are two concepts that have helped me conquer what is normally my weakness. 1. slurs. I do them every day. It's like an apple a day. 2. left hand wobble. I came across this concept on a newsgroup--someone said, "I have a student who has no left hand wobble". What the heck is that? IT was defined as the absence of the left hand shifting and moving after a chord is placed. I looked at my hand and realized I did it all the time. I also observed a few poor players and they did the same, and some great players and noticed they didn't. It was as simple as changing my perspective, and not allowing the wobble, and I started gaining more stability and precision. Now I hardly ever wobble! All good players have good left hands, some good players have good right hands.
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 22 2005 17:22:43
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Arpeggio - Help!! (in reply to Guest)
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Kieron, the mechanics and technique of the hands is certainly very interesting. The way I play, my fingers have independence but they also work together. For example, when I play tremolo, the sensation is more similiar to a natural grab of a cup, rather than separate movements. It's more like one graduated movement. Of course, to get each finger to sound distinctly, there must be a element of control. Maybe it's more of a mental way of grouping actions, but I usually group or "chunk" them. For more information on "chunking" read Chang's piano book (google those words), a free book on piano technique written by a physicist. Fabulous for people who are into this sort of thing. Chunking is somewhat analogous to how we speak, I guess--we usually think in phrases or sentences, not individual words. If you say "How's it going?" you don't really think How_S_It_Going_?", it's more like how'sitgoing? IF you know what I mean... I practice some of Carlevaro's RH exercises, and in his text he talks about the need for complete independence of the RH hand. But for me, hand position and finger use just doesn't work that simply. Maybe in time... When I play a 6 note arpeggio pimami, the index finger returns to play the 2nd time just in time, describing a fairly slow motion arc, neither short nor long. It doesn't matter if I'm playing pretty slow, say sextuplet at 40 bpm, or sextuplet at 120 bpm...the motion seems to be the same.
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Connect with me on Facebook, all the cool kids are doing it. https://www.facebook.com/migueldemariaZ Arizona Wedding Music Guitar
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 23 2005 17:21:56
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