guit-box wrote: ↑Sat Jan 12, 2019 1:31 pmHas NattyCT even replied to any of this? This seems all to common on this forum, someone leaves a question and then never returns for any follow-up. Without a video with closeups of NattyCT's right hand, there's no way to know what's going on.nattyCT wrote: ↑Mon Jan 07, 2019 8:53 pmHi everyone,
I'm studying the song below.
At 4:00 mark, arpeggio part starts and she keeps it mostly at 140 bpm. I can play it as clean as I can up to 100 bpm and I can bump it up to almost 110 bmp by being very unclean and I've been practicing it for a week and a half. Beyond 110 bpm, my right hand cannot keep up with the tempo. 140bpm looks impossible for me with the rate I'm improving. I don't know whats wrong with me, long nails or technique or lack of practice. Can anyone guide me how to reach that rate with arpeggio?
Update: Shortened nails, having worse tones but it actually helps me to play faster. Have practiced on open string for 2-3 hours, got up to 140 bpm fine in terms of speed. However, there should be heavy training towards having a good tone and timing between strikes. My guess is left and right hand coordination is limiting my right hand tempo. Step by step I will hopefully be there. Also another problem is warming up, it takes very long for me because of my stiff forearm muscles from heavy lifting and snowboarding.
I urge you to reconsider that position. Individual finger release (play-relax) is the only way I ever practice, and I can ultimately play any arpeggio at any speed I wish. Also, concert performers known to practice this way are some of the fastest players around. This makes me believe that if it doesn't work for you, given your technical proficiency, then something might be wrong in your implementation of the concept.
True, but that's not what individual finger release is about. It is about each finger playing and releasing right after its own stroke, fully independently of what other fingers are doing. Thus if two fingers play in very rapid succession, the release of the first finger will happen after the next finger has plucked, not before.
I fail to see the reasoning behind above argument which has been reiterated several times in this thread. The physical link between two fingers only contrains the individual movement of one finger when the other is moving. It does not constrain our ability to invidually release the tension (energy) in one finger when the other is moving. Specifically, the physical link between M and A may restrain A's extension as M is flexing, but does not hinder us from releasing the tension in A as M is flexing.
I thin it's the other way round. Consider a fast AMI-AMI-AMI sequence. Consider two cases: where A is released right after its stroke, and where A is not released until M is. Obviously, in the second case A takes more time from the moment of its pluck to the completion of its return, due to the brief delay inserted before its release, and this happens in each iteration anew. That ultimately makes the first execution of the sequence faster, not slower.It takes more time to individually pluck and release each finger than it does to group the fingers for releasing out of the hand
Perhaps you are misjudging the significance of direct quotes Nick. I didn't use the words you placed in quotation marks in your earlier response although I stand by the words above, which followed on from an excellent post from Alexander.
If I wished to directly quote you, I would have (seeing as how we have the ability for direct quotes on the forum. The usage of " " I see it as akin to finger quotes. Never in my post did I directly refer to my statement as a direct quote from you. Had I done so, I would have actually said that statement. If you wish to continue this particular discussion - do so in a PM, as it is distracting from the actual thread here.Crofty wrote: ↑Wed Jan 16, 2019 8:33 pmPerhaps you are misjudging the significance of direct quotes Nick. I didn't use the words you placed in quotation marks in your earlier response although I stand by the words above, which followed on from an excellent post from Alexander.
Right, but this thread isn't what YOU find helpful. My suggestions and clarification is for the original poster to understand how to sequence an arpeggio. This topic was brought up, and it was clear that there was ambiguity in that subject matter. From there I explained the physiological reasons why.As I've explained a number of times, I don't find your suggestions helpful for my own playing because I have never seemed to have the problems that they seem intended to deal with.
Funny, I have those very same discussions with numerous colleagues of mine and other players over the years. Except we agree. Thus I find it 100% valid to continue to expose players to this concept.And since I don't see myself as being unusual in this respect [especially having discussed it with numerous colleagues, over many years] I simply feel it may be helpful for others reading threads like this to consider a different point of view.
Actually nattyCP didn't give any indication in the initial post that he wanted any clarification on sequencing, although numerous other problem issues were mentioned by him in his initial post.
So when you play scale slowly with i and m, I flex then release back to original position then m plays and release back to original position?? In your theory, slow im alternation is a very tense experience. Even at fast speed, i flex-release m flex-release is better than im alternation.guitarrista wrote: ↑Thu Jan 10, 2019 5:02 pm
I am not sure I understand what you agree or disagree with me on.Terpfan wrote: ↑Wed Jan 23, 2019 5:45 amSo when you play scale slowly with i and m, I flex then release back to original position then m plays and release back to original position?? In your theory, slow im alternation is a very tense experience. Even at fast speed, i flex-release m flex-release is better than im alternation.guitarrista wrote: ↑Thu Jan 10, 2019 5:02 pmI don't think there is a solid theory behind it that would withstand challenges. Holding a finger in (like for A and M above) means your flexor muscles keep firing, after the stroke, to hold it flexed, thus contributing to the feeling of tension. This is especially bad when people are trying this out slowly.
A bit more, but yes, of course. You are just not comfortable with the new (to you) motion so that sensation overwhelms anything else. Still, to amplify the effect a bit, try this: hold your ami fingers over the strings relaxed; now flex as if after a stroke and hold all of them flexed, for 10+seconds. Surely you feel that difference in tension (compared to all three relaxed over the strings) as you flexor muscles continue firing for many seconds to hold all three fingers in.
This. Your research guitarrista which you are sighting is specific for piano technique. Our right hand does not function like a pianists hand.