Here, I am focusing on the lightness of the i finger's placement followed by the immediacy/ tightness of the i finger's tip joint's contractive trajectory during that joint's sole activation, just as I've been talking about, Just as my original discovery dictates.
The m and a fingers must use the same exact technique, but the i finger is the greatest potential cog in the works, due to its location adjacent to p.
Bear in mind that between 1999 and my discovery of 9-9-17, which has been corroborated by at 4 renown artists, 2 of whom I am now free to name: William Kanengiser and Maestro Pepe Romero, I could not play beyond one note.
After one note my hand would clench up into a fist .
Now, today, I can do this:
Is it perfect?
Does my hand clench up into a fist after the first note?
The fact that it does not is the miracle. If only you could have seen me play, or attempt to play, all those years before my discovery, my many haters would not be so quick to ridicule me or discount my discovery.
Do you truly believe that a man who was riddled with focal dystonia and unable to get past the first note, for many years (18), yet is now able to do this, only one year after making a transformative (and fully corroborated by renown masters) discovery, ought to be discounted and belittled by people "facepalming", etc?
Are you truly so certain that I have not hit upon something precious, THE intangible right hand technical solution that has been so elusive to all but the finest virtuosos?
Keep in mind that none of those virtuosos explain how they are doing what they are doing in a manner that comes anywhere close to their own actual execution, so elusive is the right hand technique. I know; I am friends with many of them, and acquaintances with most of them.
They are doing what they do, naturally, and with almost no overt cognitive awareness of their precise manner of personal execution.
I have, after 36 years of struggle, successfully reverse engineered this, and once I get my neurological pathways fully retrained, my own execution will be such that there shall be no doubt among any of those who choose to ridicule or discount me.
At that time, it will be obvious to all that my discovery is, as the two players named above have explicitly stated to me (in writing) "completely correct".
You see, if you are taught wrong and you obey this incorrect teaching for 35 years, attempting to play in precisely that incorrect way, it does become deeply ingrained
Nevertheless, I shall prevail and train myself to execute, with consistency, precisely as my discovery clearly describes.
I've come such a long way, and one world famous virtuoso told me, just last weekend, that I'm "90% there".
That's a lot better than 0%, which is where I was just a little over one year ago.
Now, I have not come here for approval. I have come here because I have naively believed that you all would see the value in what I have discovered and that you yourselves would adopt it and be likewise transformed...
Here is my original discovery. It clearly outlines and describes the precise reverse engineering of the exact way in which all virtuosos use their right hands for both rest stroke and free stroke. There are no exceptions. We must emulate this, every detail of it, if we are to follow suit or even if we wish to play at any respectable level:
*If it is not working for you:
1. Lighter placement of i.
2. Tighter subsequent i finger tip joint contractive trajectory, during that joint's sole activation.
i finger is the KEY.
Simultaneously relax the middle and main joints as you activate only the tip joint and only in the precise manner described above.
All of this results in a large amount of passive contraction at the middle joint, as well as a fair amount of passive extension at the large/ main knuckle joint. ALL movement at the middle and main joints, during all plucks, is always 100% passive. There are no exceptions.
"Lightness and tightness, a symbiotic relationship".
Adjust these 2 parameters and increase their degrees beyond what you have ever thought possible: lightness and tightness, especially with the i finger; these are the parameters that allow us full control over the entire right hand system.
The same is true of m and a, but they will generally take care of themselves if the i finger perfectly observes these axioms with consistency.
Re: "tightness". I realize that this word often implies "tension" to many people. I'm of course not referring to tension; I'm referring only to the degree of the contractive trajectory of the tip joint during that joint's sole activation.
It is as if we have a piece of sticky dust that is stuck upon the underside of our plucking finger's nail, and we are attempting, with active work being performed ONLY at the tip joint, to fling this imaginary piece of sticky dust straight up so that it sticks upon the underside of the plucking finger's own main knuckle joint.
This requires an extraordinarily "tight" or "narrow", or "immediate" tip joint contractive trajectory, together with simultaneous total relaxation of the middle and main joints.
I hope this clarifies what I mean by "tightness"....
**We have become neurologically averse to doing this correctly, especially with the i finger, for a number of reasons:
1. We are neurologically averse to using the i finger's tip joint in this way, due to the fact that the i finger is adjacent to p.
There is in fact that potential collision course between i and p, regardless of how well we may position our hand.
...And then there is the pedagogical issue:
We are taught to "not pull up with the smaller joints", when in fact, the truth is, the problems arise when we do NOT pull up ENOUGH; at an extreme enough degree/ trajectory, but only with the tip joint as activator.
Due to the laws of physics and geometry, the string is directed downward, into the top of the instrument, in spite of the fact that we are attempting to direct it straight towards the plucking finger's own large/ main knuckle joint. The string interfaces with the fingertip or fingernail in such a way that the fingertip or fingernail acts as a ramp, which directs the string downward and the opposite direction from which we are plucking it.
The pluck of i takes place through the sole activation of the i finger's tip joint, the contractive trajectory of which is so extraordinarily narrow/ immediate and tight that it's as if we're flinging the string straight towards the i finger's own large/ main knuckle joint as its intended target.
*Pluck must occur from feather light and naturally curved presentation to string. Middle and main joints DESIST during the pluck.
There is a clear symbiotic relationship that I have discovered which exists between the lightness of the presentation of the finger to its string and the subsequent "tightness" or "narrowness" or "immediacy" of the tip joint's contractive trajectory during that joint's sole activation.
The largest segment of i begins as far away from the palm as is naturally possible. (as is contingent upon the player's wrist height), prior to each presentation of the i finger to its string; that same largest segment of i must return to the same position, as far as is *naturally* possible, away from the palm...not AFTER each and every pluck of i, but literally DURING, and simultaneous with, each and every pluck of i. This is crucial. This return of the main/ large segment of the i finger to its relaxed state, away from the palm, occurs not only due to its simultaneous relaxation but also due to the energy and momentum created by the tip joint's contractive trajectory.
[*Original discovery made by Scott B Johnston on 9-9-17 10:45 a.m. central time, U.S.]