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Topic: Right hand technique |
Mike Neer
From:
NJ
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Posted 7 Aug 2014 8:40 am |
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I have been re-evaluating my right hand technique, or lack thereof, over the last few months and I have made some adjustments to it that are hard to put to words, but have helped me immeasurably.
First, one of the problems I had was inaccuracy--picking the wrong strings when doing rolls, etc. This was somewhat alleviated when I changed the shape and length of my picks, opting for a little more extension and straightness, whereas before the pick followed the shapes of my finger tips.
The second thing I did was to change the use of my fingers, so that all of the movement is occurring in the last two sections of the finger, rather than from the knuckle down; in fact, the upper area of the fingers is almost locked in place. My fingers used to be much more loose.
I find it has resulted in less movement, more control, greater speed and fuller tone. This is probably commonly known amongst pedal steel players, but it has taken me a while to understand.
The impetus for this really stems from reading about the history of piano playing and how the first players played the instrument like it was a harpsichord, using finger technique, rather than employing the upper arm.
Thoughts?
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Links to streaming music, websites, YouTube: Links |
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Henry Matthews
From:
Texarkana, Ark USA
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Posted 7 Aug 2014 1:36 pm
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Mike, a few years back, I worked for months on my right hand technique and really helped my playing.
I changed from first finger to second finger for scale work and single note stuffwhich helped my speed, accuracy and blocking. I also limited the movement in my fingers as you stated. It used to take me four or five songs to get warmed up but now I do a little 15 second warm up and I'm ready. Technique is a big factor in sounding good on any instrument in my book.
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Henry Matthews
D-10 Magnum, 8 &5, dark rose color
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes. |
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Mike Neer
From:
NJ
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Posted 7 Aug 2014 1:40 pm
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Wearing my picks so close to my finger tips caused me to dig down deeper and really limited my ability to play fast and clean. Lengthening the picks a bit and minimizing finger movement has resulted in greater precision and has allowed to really sharpen all of my permutations of roll combinations.
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Links to streaming music, websites, YouTube: Links |
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Doug Beaumier
From:
Northampton, MA
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 7 Aug 2014 2:17 pm
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| Quote: |
| The second thing I did was to change the use of my fingers, so that all of the movement is occurring in the last two sections of the finger... |
All good advice, Mike, except for the above. Once you're curled your fingers, it's nearly impossible to lift them without some movement at the knuckle. Though I'm a big proponent of economy of motion, I can see some newbie taking your statement literally and exactly, and then becoming very frustrated when he sees all three of the finger bones moving.  |
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Mike Neer
From:
NJ
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Posted 7 Aug 2014 2:58 pm
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| Donny Hinson wrote: |
| Quote: |
| The second thing I did was to change the use of my fingers, so that all of the movement is occurring in the last two sections of the finger... |
All good advice, Mike, except for the above. Once you're curled your fingers, it's nearly impossible to lift them without some movement at the knuckle. Though I'm a big proponent of economy of motion, I can see some newbie taking your statement literally and exactly, and then becoming very frustrated when he sees all three of the finger bones moving. |
Donny, I agree that all sections of the finger are moving, and I liken the action somewhat to that of an excavator, with the bucket (finger tips) doing the groundwork, the arm (middle phalanx) supplying leverage, and the last phalanx acting as the crane, lifting the fingers into place, but not controlling the movement.
It's really funny and awkward trying to put this into words. I really enjoy reading about things like the Alexander Technique and really any descriptions of bodily movements and the thought processes behind them. So many piano teachers have written historic books on the posture and physical playing of the piano, such as Abby Whiteside. I really recommend reading it.
_________________
Links to streaming music, websites, YouTube: Links
Last edited by Mike Neer on 7 Aug 2014 6:15 pm; edited 1 time in total |
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John Alexander
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Posted 7 Aug 2014 4:01 pm
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| Mike Neer wrote: |
| I really enjoy reading about things like the Alexander Technique and really any descriptions of bodily movements and the thought processes behind them. So many piano teachers have written historic books on the posture and physical playing of the piano, such as Abbie Whitehead. I really recommend reading it. |
You might appreciate seeing the YouTube video about the work of Dorothy Taubman,The Choreography of the Hands. Ms. Taubman, who might remind someone of a character out of the Far Side or possibly the I Love Lucy show, developed a sophisticated ergonomic approach to piano technique that gained her a reputation as a miracle worker who was able to help many pianists overcome debilitating physical injuries and conditions, and resume full performance capabilities. Regardless of the issue of hand injuries, her method provides a superb basis for approaching technical problems on the piano, that takes much of the stress out of playing.
Ms. Taubman is now deceased but her work is still carried on by Edna Golandski and others, and can be easily found on the web. The Taubman method contains observations and understandings about the physiology and use of of the hand that have been generalized to the playing of other instruments besides the piano. It is worthy of consideration by anyone who is dealing with or concerned with avoiding hand injuries, or who is simply interested in the ergonomics of performance on a musical instrument. |
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Mike Neer
From:
NJ
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Posted 7 Aug 2014 6:14 pm
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John, thank you, I am aware of Dorothy Taubman and did quite a bit of snooping on both her and Abbie Whiteside. It really occurred to me a few years ago that there were things that I could apply to steel guitar, but I never had a private lesson with a practitioner. Thanks for reminding of her name!
[Edited for correction]Barry Harris studies with an Abby Whiteside practitioner named Sophia Rossoff, and I knew a guitarist who had a lesson with her, too, and I got a fairly detailed account of things they did, but I can't find it.
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Links to streaming music, websites, YouTube: Links
Last edited by Mike Neer on 8 Aug 2014 4:58 am; edited 2 times in total |
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John Alexander
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Posted 7 Aug 2014 10:20 pm
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I have found it possible to assimilate much of the Taubman technique on piano without a teacher, working with a DVD series called "Virtuosity in a Box" (to be distinguished from "Band in a Box," and available from the Golandsky iInstitute).
Most of the specific techniques are probably inapplicable to steel guitar, but they are based on some general principals that could be considered:
1. Avoid lateral twisting at the wrist.
2. Avoid stretching or reaching with a finger to play a note - rather, have the hand moving to be in an optimum position to support the finger as it plays the note.
3. Avoid going to the extremes of the range of motion of joints of the hand and wrist.
4. Avoid techniques that involve opposing muscular pulls - simultaneous contraction of the extensor muscles that open the hand and the flexors that close it. The opposing pulls can relate to the same finger(s) or to separate fingers.
Part of Taubman's point was that any of the above might seem innocuous up to a point, but may become the recipe for chronic pain and injury once the demands of the music or the musician's practice schedule reach a certain level of intensity.
In picking a steel guitar the distances traveled by the finger are generally small, and the risk of injury from playing may be less than what might be encountered on a piano or even a standard six-string guitar. |
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Mike Neer
From:
NJ
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Posted 8 Aug 2014 4:25 am
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| John Alexander wrote: |
| In picking a steel guitar the distances traveled by the finger are generally small, and the risk of injury from playing may be less than what might be encountered on a piano or even a standard six-string guitar. |
I remember that Taubman's approach was more about trying to correct or rehabilitate pianists. I am more interested in just finding the perfect balance between comfort and economy of motion with maximum results.
In playing rolls and patterns now, I feel I can almost mentally program the fingers to play these permutations and there is less at play. With excess finger motion, it is too haphazard.
One other important observation: Before I started shortening my finger movements, I noticed that it was primarily the whole digits plus the forearm muscles that were doing the work. With a more isolated and what I can describe as "locked in" position, there is more involvement from the upper arm serving as a fulcrum.
I'm sure this is not anything new to seasoned players, but these nuances of playing have really only become apparent to me, a self-taught player, recently.
_________________
Links to streaming music, websites, YouTube: Links
Last edited by Mike Neer on 8 Aug 2014 5:20 am; edited 3 times in total |
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Ken Campbell
From:
Ferndale, Montana
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Posted 8 Aug 2014 4:35 am
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Mike,
Any chance of a picture of the picks on your fingers?
Thanks
Kc |
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