kevin toner Posted May 11, 2012 Share Posted May 11, 2012 As mentioned previously on another thread/forum, I’ve not yet got round to using recording as a means of refining practise, but I do hope to produce clear sound recordings very shortly as I quickly settle into a more comfortable method of playing. I’ve meanwhile stumbled on additional revelations on technique in tandem with revisiting the sheet music rather than lazily by memory. This is keeping me going although I still anticipate occasional recordings becoming a form of practise diagnosis too, soon! Since my last post of ‘Memories of You’ on the music discussion forum, I feel like I’ve had 50 or so pivotal self-learned lessons. Even as I speak I am constantly assessing everything I’m doing until I am entirely comfortable. I anticipate great progress on ‘Winter Wonderland’ and look forward to breaking freshly into each of the many alluring 1930s jazz standards and the likes. This is a very satisfying, fairly transitional, stage to be at in my development. Looking forward to much progress! My advocacy of thumbs through has now been reinforced with yet another unusual advocacy [ie for me] for hand straps as well. I would never in my wildest dreams have thought I’d be approaching the technique of my Granddad due to the constrictions involved. How on earth am I now playing bass notes fluently on T-T with thumbs fully through and hands tightened/constricted with straps? Beats me! I’m now becoming comfortable with all of “MoY” on the Allegro side of Moderato, since making these decisions to strap up, although now getting used to a few fingering changes including one reverted change having tried out an arpeggiated chord placement change to no avail over the last 2 months – the problem with the latter being the ‘weak interdependency of the 3rd finger on lowest notes’ despite hand comfort. Here’s a list of recent findings as I develop. 1. Listening &/or recalling Granddad playing and discussing; 2. Thumbs fully through straps 3. Hand straps on (starting loose and working towards tighter as dexterity improves – I’ve still got a few notches before I reach the tightness Granddad was at – the mark on the straps are still there and I’m glad I decided to get them back on the concertina): the obvious advantage is increased control but greater discovery/cognisance of the bellows...; 4. Lower shoulders at difficult passages to release stiffness and promote the following: 5. use/experiment with hand positioning before scrunching up shoulders and using unnecessary upper arm work. Vertical & horizontal rotation of the wrist, and door handle action turning from forearm too: can all unlock difficulties of reach. As mentioned above, getting the right leverage can sometimes beat comfortable hand configurations e.g. in my case, if too much demand put on the aforementioned interdependency weakness of the 3rd finger at high tempo arpeggiated chordings; 6. Revisit music score and discover or search for the intention of the writers if it’s there and worthwhile. The value of notes can be over/under-estimated during familiarisation/s especially if a flurry of notes are involved as in piano scores. Also, amazing progress going on in the Roberton scores in particular! Mairi’s Wedding; Come Along; Westering Home; Air Falalalo; Mingulay Boat Song. Quote Link to comment Share on other sites More sharing options...
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