chien buggle wrote: ↑
Thu Feb 07, 2019 12:59 pm
Sebastian wrote: ↑
Thu Feb 07, 2019 2:52 am
chien buggle wrote: ↑
Tue Feb 05, 2019 9:21 pm
It sounds like you are an advanced player and have spent a lot of time on this problem and you are frustrated with it. But is it really necessary to play as fast as yamashita? What sort of speed are you stuck on?
I'm sure there is a physical limit to how fast humans can move their fingers but is it necessary to get close to that speed in order to play guitar well? Yamashita is a great player but to be honest I think it's safe to say most guitarists would say Bream is as good if not better, even though he doesn't play as fast (sorry if this sounds condescending:) What I mean is that I don't think that's its necessary to go to the physical limits of human performance. For the vast majority of people learning to play classical guitar their problems can be put down to lack of knowledge and or time to apply that knowledge.
Have you tried Alexander technique? You didn't mention it specifically. Your speed problems could be down to excess tension, it would explain why none of the practice techniques you described are helping you that much. Apologies if you have already tried it but if not I highly recommend it.
I was not aware or Alexander technique and if it could be implemented in guitar playing, how to do it.
"Your speed problems could be down to excess tension". Well, my three main concepts while studying anything are:
1) A very
focused mind concentrated on the issue you're trying to deal with. The mind should be in control of the body as much as possible.
2) Use the less tension POSSIBLE (I capped the word "possible" because some people state one must be able to play "with no tension at all", which is not possible; any movement in our bodies and even being sitting in a chair causes some kind of tension, I believe the only way to rest with no tension at all would be laying our backs just as when we are sleeping or maybe in one of those physical idle meditation positions).
3) To learn something, you must do it. Seems stupid but: if you want to play more accurately, then be more accurate; want to play louder, then practice louder. I remark this one a lot to students, most of them beginners or intermediates tend to play by default with a low volume.
Every excercise, piece and drill I do is done with a very high level of mental concentration (I always ask myself when performing those: where is my main thrust coming from? Is the contact zone always the same? I need to previsualize the movements in order to "pre-feel" the physical movements; where are my knuckles positioned in relation with the string? where are my joints located in relation to the strings? is my palm at some distance to the mid joints? etc... etc...), I believe in that matter, practicing is very similar to meditating. I will state again, the first point of my three main concepts: "A very focused mind".
And of course, I will try using as less tension as possible.
What happens is that at certain speed (while performing a particular drill/formula/arpeggio) we always find a limit. And even with using the lesser tension possible I still hit the same treshold. I also tried, as an alternative resource, checking what would happen if I added more tension, I can play A LITTLE BIT faster but with less resistance (due to the intermitent or regular tension added).
Again my practice routine is a bit extense and attempting to explain it completely would require a LOT of time to do it.
However, about two week ago I've been typing down into a Notepad file what's going to be a new thread here in DelCamp forum about a problematic I face: a very possible hypermobility or too much natural flexibility in my joints. In that thread I wrote down a large part of my routine and more importarnt, the concepts I use. It will be poster anytime soon. I'll state again that I'm still writing because I want to give the most detail available possible to it (so far it seems that it will be approximately 10 pages long or so).
This is kind of important, but I can't play free strokes without letting my fingertip joints collapse. I tried everything, changing hand posture, LOTS of drills, speed bursts, plantings, different angles, making the main thrust come (as an experiment) come from the middle joint and even stiffing the tipjoint.... still no luck. At higher speeds they still break, as the right hand fingers must penetrate all the tension of the string, in contrast to what the left hand does, only pressing down strings a few militers from the fretboard. No professor knows what to do with this. And I haven't met anyone with this "disorder". I've been diagnosed with a flexible hand, accentuated on my index finger (from the right hand) even more. It is not a muscle, it is a joint. Muscles can be trained in order to get stronger: joints on the other hand... I'm not sure. Seems like a natural trait.
I know some people do this, but for those people the reason to do it was because they were not aware of that. I'm aware of it and can't do it. Again the cause is not lack of training (like the few people I observed who had that issue), it seems that the cause is a natural trait for me.
I know collpasing tip joints CAN be used in REST STROKE, but the problem here is about FREE STROKE.
I also know that tipjoints can collpase in Free Stroke, but it is only convenient in slow passages
for playing Etude 1 of Villa-Lobos or Las Abejas of Agustín Barrios, or any tremolo piece....
PS: I'm not bothered by the fact that I cannot reach Yamashita's alternation speed level. I'm frustrated that there are some "normal" pieces I can't play at mid-high speeds: Etude 1 of VillaLobos (at, say, 110-130 BPM), las Abejas (130-160BPM), Waltz N°4 of Agustín Barrios (165-180 BPM). Although I studied them a lot and keep studying many of their drills, I just can't surpass my previous speed-strenght-accuracy marks. I swear for god I want to smash my head against a brickwall.
You're reading this.