Right hand technique: a new perspective

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Ortega
Posts: 370
Joined: Fri Sep 04, 2015 6:49 pm

Re: Right hand technique: a new perspective

Post by Ortega » Sat May 04, 2019 1:41 am

Nearly perfect now...😀

Invoking the symbiotic relationship between the lightness of the presentation of the m finger to its string (through the sole activation of the m finger's tip joint, as with all of the fingers) and the subsequent tightness/ narrowness/ immediacy of the m finger's tip joint's contractive trajectory during that joint's sole activation for the pluck itself...AND:

I think I have found the problem with the sextuplets now. By activating the m finger's tip joint slightly earlier and ensuring that the pluck of m literally causes the m finger to go "limp", the pattern becomes much more even, though it is still not perfect. It is close.

Same holds for all the fingers but due to m's extended relative length, in this context it works well to focus on m in this fashion....

Ensuring that this explosive event, which causes the m finger's string to be plucked, also literally simultaneously causes the m finger to enter a state of complete and total "paralysis" (complete relaxation) is a major focus here:


Crofty
Posts: 293
Joined: Tue Aug 14, 2018 7:32 pm

Re: Right hand technique: a new perspective

Post by Crofty » Sat May 04, 2019 11:21 am

Ortega wrote:
Sat May 04, 2019 1:41 am


Invoking the symbiotic relationship between the lightness of the presentation of the m finger to its string (through the sole activation of the m finger's tip joint, as with all of the fingers) and the subsequent tightness/ narrowness/ immediacy of the m finger's tip joint's contractive trajectory during that joint's sole activation for the pluck itself...AND:

I think I have found the problem with the sextuplets now. By activating the m finger's tip joint slightly earlier and ensuring that the pluck of m literally causes the m finger to go "limp", the pattern becomes much more even, though it is still not perfect. It is close.

Scott - it all *sounds* very profound but the reality is that it is absolutely impossible to apply any of your ideas [fanciful in my view anyway] when you are playing so fast all of the time.

How can your brain possibly get a successful message to a particular finger when that finger only takes a microsecond to act and is part of a reflex sequence of thumb and three fingers?

I really don't know what you don't get about S L O W practice - everybody who plays well, on any instrument, utilises it for goodness sake.

Also, to pick up on something else you wrote: you say that planting is forbidden and then attach a video which shows clear evidence of you planting m and a - to the extent that, as others have observed, they largely operate with a single action.

It's as if you don't actually study the videos of your playing yourself. Which is odd because I would have thought that that was the main purpose in you recording them.

Paul

Ortega
Posts: 370
Joined: Fri Sep 04, 2015 6:49 pm

Re: Right hand technique: a new perspective

Post by Ortega » Sat May 04, 2019 4:05 pm

The sextuplets are now perfect, 5 different examples, all different takes!

 It ONLY works with the application of the exact same trick that I discovered for the tremolo!

 Begin bringing the a finger's tip segment in towards the a finger's string (not TO the string, but towards it) at the precise moment that P strikes its own note.

One would not think that this would be the solution, since the a finger's note is not played until 3 notes after P, but in fact it IS the solution!

All tenets of my original discovery stand. The tip joint does literally everything and the 2 larger joints must remain static or relaxed at all times, for all right hand fingers in both rest stroke and free stroke. All techniques, all scenarios, no exceptions.

Timing is everything, and in the case of both PAMI tremolo and PIMAMI  sextuplets, we must begin bringing the a finger's tip segment in, from fully relaxed out status, toward the a finger's string at the precise moment that P strikes its own string!:

 I see now why Jeffrey Van teaches that we must be able to execute perfect sextuplets in order to have tremolo. 

Van teaches that we cannot have one without the other, and now I have discovered why that is the case!😀


Ortega
Posts: 370
Joined: Fri Sep 04, 2015 6:49 pm

Re: Right hand technique: a new perspective

Post by Ortega » Tue May 07, 2019 5:17 pm

 Asturias/ "Leyenda" triplets with "bicycling"!

I could never do these before!

Invoking here the "sticky piece of dust" lightness and tightness symbiotic relationship parameters and ensuring that there's an instantaneous sensation of "bicycling" with each finger ensuring that the largest segment of the finger kicks out away from the palm literally the moment that the pluck occurs and prior to proceeding on to the next right hand event!



All parameters of the original discovery stand!😀

Ortega
Posts: 370
Joined: Fri Sep 04, 2015 6:49 pm

Re: Right hand technique: a new perspective

Post by Ortega » Wed May 08, 2019 1:32 am

The sextuplets were lacking in that last clip, but via the application of this "bicycling"/ instantaneous relaxation parameter, as marked by largest finger segment "kick out", away from palm, simultaneous with pluck (with ALL fingers) combined with the "lightness and tightness" parameters and invoking the symbiotic relationship that those possess, I do not believe that they are lacking here!😀:


Ortega
Posts: 370
Joined: Fri Sep 04, 2015 6:49 pm

Re: Right hand technique: a new perspective

Post by Ortega » Wed May 08, 2019 3:44 pm

Several (lesser/ not famous players, on another forum) have said that I am clearly cheating, overdubbing the audio!😧

Edit: This accusation has come up once before, earlier on in the development of the discovery.

 The editor that I was using to combine the clips did in fact put the audio out of sync...so maybe that's the issue.

 Some simply can't believe that one can play by activating only the tip joints, even to bring the fingers to the strings. The fact is that one cannot play at a high level unless they're doing precisely that, and ONLY that.

 My wife has said from the beginning "you are alone in this, Scott".  At first I didn't think she could be right, but it turns out that she absolutely is.

 Actually I think that's kind of cool!😉

I downloaded a different editor and used that; plus new tremolo here. The audio is no longer out of sync and I don't think any rational person can accuse me of overdubbing this audio:


DevonBadger
Posts: 160
Joined: Sun May 29, 2016 8:03 pm
Location: Devon, UK

Re: Right hand technique: a new perspective

Post by DevonBadger » Fri May 10, 2019 9:06 am

Hi Scott,

Have you seen this blog and video from Philip Hii?

https://philiphii.com/2017/09/an-effici ... e-stroke2/

Interesting that of the three ways he describes of playing free stroke the one he uses the most is from the fingertip - "I use all three strokes but my primary and default stroke is the third one, playing with the fingertip, because it is so economical and efficient."

Maybe you're not as alone on this as you think you are. :)

He also has an earlier blog which goes into a bit more detail - https://philiphii.com/2017/09/an-efficient-free-stroke/

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