Discoveries for RH:
-Allowing just a little give in the smallest joint (closest to fingertip). Lee F. Ryan describes the RH fingers as needing to have firmness and flexibility at the same time, similar to the branch of a healthy tree. They can bend a little, but they maintain their curved shape/strength. I am learning how to relax the RH in new ways by lessening the rigidity of the fingers, though keeping enough firmness to avoid buckling. Exercise 21 (arpeggios while using rest stroke for i, m, and a) helped me become especially aware of this technique. I am able to extend the RH and play the notes required without bouncing the hand around and trying to reach for string 1. I have a new understanding/attitude for Exercise 8 (simultaneous finger-thumb articulation) with this new awareness.
- I think I finally understand what it feels like to articulate from the hand joint/largest knuckle, as Iznaola instructs in many of the Kith exercises. To me, it's a similar feeling to what a dynamically relaxed hammer-on feels like in the LH. It's a very light feeling, yet produces a powerful result.
Discoveries for LH:
- To practice "relaxing in the spaces between the notes," as described in the NCG book. I seem to be constantly rediscovering this concept, particularly with #16 since it has been easy to lose sight of when working hard to get the notes to sound right. However it's an unmistakeable feeling of release in the LH, like a wash of warmth or cool.
The Kitharologus exercises continue to transform into "new exercises" each week as I gain a better understanding of each level of awareness. Sometimes a shape or stretch will just feel better because I've made a slight adjustment to posture, and that's a big discovery in itself. Or, I'll have more clarity in a certain area because I've taken the time to assess what's mechanically or musically going on.
-Allowing just a little give in the smallest joint (closest to fingertip). Lee F. Ryan describes the RH fingers as needing to have firmness and flexibility at the same time, similar to the branch of a healthy tree. They can bend a little, but they maintain their curved shape/strength. I am learning how to relax the RH in new ways by lessening the rigidity of the fingers, though keeping enough firmness to avoid buckling. Exercise 21 (arpeggios while using rest stroke for i, m, and a) helped me become especially aware of this technique. I am able to extend the RH and play the notes required without bouncing the hand around and trying to reach for string 1. I have a new understanding/attitude for Exercise 8 (simultaneous finger-thumb articulation) with this new awareness.
- I think I finally understand what it feels like to articulate from the hand joint/largest knuckle, as Iznaola instructs in many of the Kith exercises. To me, it's a similar feeling to what a dynamically relaxed hammer-on feels like in the LH. It's a very light feeling, yet produces a powerful result.
Discoveries for LH:
- To practice "relaxing in the spaces between the notes," as described in the NCG book. I seem to be constantly rediscovering this concept, particularly with #16 since it has been easy to lose sight of when working hard to get the notes to sound right. However it's an unmistakeable feeling of release in the LH, like a wash of warmth or cool.
The Kitharologus exercises continue to transform into "new exercises" each week as I gain a better understanding of each level of awareness. Sometimes a shape or stretch will just feel better because I've made a slight adjustment to posture, and that's a big discovery in itself. Or, I'll have more clarity in a certain area because I've taken the time to assess what's mechanically or musically going on.
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