AndreiKrylov wrote: ↑
Sun Dec 24, 2017 3:16 am
Rognvald wrote: ↑
Sun Dec 24, 2017 12:28 am
Karen wrote: ↑
Sat Dec 23, 2017 6:55 pm
I am being taught to use rest stroke to bring out the melody, free strokes for harmony. This approach helps bring about the melody line even though I am not yet ready to worry about volume control. There are only so many things one can think of at one time and as a beginner it can be a little overwhelming. Another reason for a teacher, I suppose, to help the student not to bite off more than can be chewed
As you develop your RH technique, you can approximate, very closely, the full sound of a rest stroke with a fleshy finger/nail combination by turning your hand slightly inward towards the soundboard and catching more flesh than nail on your string attack. You can experiment with the best hand position to do so and once you become fluent in this technique, you can add greater speed to your melody line than would be normally possible using a conventional rest stroke. I hope this helps. Playing again . . . Rognvald
I think it is more than technical problem - it could be a kind of general personality problem...it is the same with other Arts - one have to build composition in painting, or writing or sculpture in a way that will not be only perfectly balanced and organized, but also one which will SPEAK and TOUCH reader , listener, viewer...there should be something distinguished in a perfect construction or even in absolute chaos which will do that.
Could this be learned? Probably yes, to a certain degree, but paradoxically some people seems to have it naturally...
Hands just reflecting our feelings and passions, and while we need to develop technique to express that, sometimes that technique by itself does not work...
This is very nicely said, Andrei, and leads me to one of my most important beliefs about Music, Art and Writing. How is it possible to create Art that will "SPEAK AND TOUCH reader, listener, viewer(Andrei)" when your life lacks intellectual, human and artistic stimulation? How many on this Forum listen to serious Music in all genres, read serious Philosophy, Fiction, Poetry, History and engage in living life creatively? If a human being is indeed a sensorium of internal/external stimulation, how can we season a potential "artist" or even a good "player" if their life, aside from playing the CG in their bedroom is imbued with the mundane, the common, and the trivial steps of a mechanistic life? When we are touched by someone with a voice in the Arts, it is always someone who has been "seasoned" with life's complete human experience: Beethoven, Wagner,
Gauguin, Rembrandt, Conrad, Cervantes, Hemingway, and it is through this seasoning that their "technique" is given life through their Art. We are not machines. We are human beings and to develop a voice, one must have lived life to its fullest. Otherwise, you are only a Music Machine. Playing again . . . Rognvald P.S. I would rather play one beautiful line of Music than a lifetime of dead sounds.
"And those who were seen dancing were thought to be insane by those who could not hear the music." Friedrich Nietzsche, Thus Spake Zarathustra