Crofty wrote: ↑
Sat Jan 12, 2019 8:45 pm
mmm......I much prefer the bow and arrow analogy.
In the case case of throwing or booting something, all the energy is towards the object [usually a ball] going in the same direction as the arm or leg. The follow through is not only natural it is essential. Golf uses it of course, and especially so the further the player wants the ball to go.
Right, except you are missing my point of volume. The energy of pushing the string needs to be displaced naturally. Artificially imposing small "efficient" motion only increases the amount of tension inside of the hand. It also attributes to a "tighter" sound, which some would describe at bright.
With a guitar string or a bow string the job of the fingers is the opposite: pull, yes, but then *release*. I encouraged pupils to sense the string building up tension and then letting it go - precisely like an archer. That way one also actively encourages the natural return of the finger to it's previous mid-range position. The further into the palm you encourage the finger to go the less efficient that return is.
The return (which I call release) of the finger happens by the muscle which engaged the initial movement into the hand turns "off". Thus letting the finger fall out of the hand. This is the most effective way to release the finger and it is quite efficient. The hand position of a classical guitarist allows gravity to assist in the finger coming out of the hand. At this point we are getting into the difference of introducing the skill verse developing/refining the skill (and far off what the OP has asked). Initial teaching of follow through the student has to feel the sensation of what it feels like for the finger to move into the hand. As I'm sure you are aware of, we do this often times with over-expressing the motion. This is done so the student can actually feel the energy of the finger in the hand. When they can feel that, they can learn to release said energy which allows the finger to release from the hand. You cannot release tension if you don't feel it. From there the continuation of refining the skill includes learning how to push into the string and release the string. There's a follow through involved in this, and as the student develops speed the hand will adjust to the necessity of smaller movements. The difference is that this is not an artificially implemented concept, but rather one that develops organically as the student develops their skill and acquires faster speeds.
Now to the idea of sequencing - you may disagree, which is your right to do so, BUT when you watch player playing at fast speeds preparing fingers in an arpeggio individually (no full plant), the fingers release in a sequence. There are two types of sequences, one a bit simpler than the other. Both are effective, and both can be useful depending on the arpeggio pattern you are playing. Finally these sequences are personal. Going with something more aligned to your individual release idea is the sequence which groups the hand into 3 groups: P, I and MAch. M and A cannot effectively alternate at high speeds, it's a physical limitation. Now with that said there's individual differences obviously, but almost everyone will find it difficult to extend the middle finger while the ring finger is the hand, and vise verse. You may be able to do it, but it takes a lot of effort. And isn't the point to effortlessly play?
So the solution is to learn to release MAch together so they are back at their starting position (you refer to it as mid-range position). From that point the fingers can approach the strings individually and play. But coming out of the hand (NOTE - when playing FAST) it is 1) more efficient and 2) less stressful on the hand to release the fingers together as a unit rather than individually. Since M and A are connected via a tendon, that tendon is attached to a muscle. If you are extending M while simultaneously retracting A, that grouping is using 2 different muscular movements. Which is a similar issue to the ideas of bicycling in a single finger (where the top knuckle moves upwards and the mid knuckle moves in toward the hand).
You don't have to agree with me, however I've spend decades not only studying these concepts for myself in my own playing, but also speaking with doctors and physical therapists who understand the make-up of the hand, all of whom agree with me and acknowledge the logic behind how I conceive of the right hand movement. Maybe it's "too much to think about for you", but I've found that just like music theory, a Bb is always a Bb - so you might as well know what to call it.