lacatedral wrote: ↑
Sat Mar 10, 2018 6:05 pm
CactusWren wrote: ↑
Wed Feb 07, 2018 12:42 am
Do your tip joints behave the same no matter what the dynamics? Are they still very soft and bend back when you play ff?
No, when playing f or ff I make my fingers go a little "harder" so they dont bend so much.
Thing is. Basically the premise for a good free stroke is to have the hand completely relaxed and make the impulse go from the knuckle (the larger joints), leaving the whole finger completely relaxed (not with tension), and make the movement go into the direction of the heel of the hand.
Many people who do that do not bend the little joints of the index, middle or ring fingers. And that's their "default" movement, which is good.
My default movement differs in the sensse that the last joints bends .
I don't agree with this: "Basically the premise for a good free stroke is to have the hand completely relaxed and make the impulse go from the knuckle (the larger joints), leaving the whole finger completely relaxed (not with tension), and make the movement go into the direction of the heel of the hand."
This is the way the free stroke has been taught, but there's lots of evidence that this isn't really how the fingers behave. There was a long thread with tons of videos showing that concert players don't actually do this. If you think about it, isolating all the movement in one joint (the knuckle) is oddly artificial and different from almost any other way of using the body. We don't run using just the hip joint,we don't throw a ball using just the shoulder joint.
For myself, I have found the best results using all the joints, both for free stroke and rest stroke. I can play forte without even pushing down on the string (maybe not ff, but that's okay). Two exercises have been particularly helpful:
1.playing scales with one finger. I found playing with just m over and over helped identify and get rid of some bad tensions and movements associated with alternation that I had developed.
2. lots of work with accents and dynamics, for both scales and finger patterns (called arpeggios by guitarists). For example, I would play some kind of pima and play everything pp except the a, which would be forte. Then everything piano except the m. I would play scales accenting the beat, the second eight note, the second 16th note, the 3rd 16th note, etc. I think it's important to be able to play both pp and ff on command. And lots of slow tempos. I couldn't believe how much working like this helped me, and this after playing for 30 years. I am currently studying VL Etude #2 and it is amazing for this!
With this kind of work, I've found micromanaging what joint does what and what flexes where to be mostly unnecessary. I am aware, but I think as long as the body is given a specific goal, it usually can do a better job of it naturally then to be given specific instructions as if it were a robot that needed programming.
Good luck in your studies!