(acoustic guitar) Doublejointed Thumb , Annoying Cramping, Unbuff Pinky , and Weak Solos? - how did pinky gain weight
For each question, which I suppose it would be better for all of them together to save space too ..
Q1. Workin Ive tried to gain speed through the application of the scale, but I think, during the performance starts to cramp out of hand. If you take your hand against the palm of the hand on him and put a number 4 that you can begin your muscle cramps, what I do to prevent this? How difficult is it to be, and soon used to it and go over time? The thumb is doubly connected, which could be causing the problem?
Q2. if every time I try to hammer on the strings with the little finger is just Oomph hammers. That does not sound like a hammer on them, as in the killing of Kettering, I think I have the same problem with havin deduct suggestions?
P. Last OK then try to work in more alone than ever to know where my start and the extent to which a large number of times it sounds like I'm running only dandruff and none of them special, they are used. How can we aww factor?
How Did Pinky Gain Weight (acoustic Guitar) Doublejointed Thumb , Annoying Cramping, Unbuff Pinky , And Weak Solos?
7 comments:
Q1 Perhaps a stronger emphasis on speed is a mistake, for the three questions. Speed is important, but players who are at the heart of his playing is often lost in other major ideas, phrasing, dynamics, creativity. My advice is, cramps Disadvantages: slow as the beach and make sure that all the time you do not press too hard with your thumb on the back of the neck. Who usually helps. If you need more pressure on the strings, you can find it without even touching the thumb to the neck with the strength of his arms.
T2-Pinky finger is more difficult to recover itself Try this. Make a perfect circle with your thumb and little finger and press it together. Try as much pressure as possible without getting the thumb or finger. Battle for the circle. Finger practical force by the percussion on a table. Make sure that all samples of the same finger. As a first time to do this, you certainly need to solve your fingers. To do this, and they will eventually make up.
Q3-Forget balance. The intervals of work and arpeggiosIOS. Listen to more than rock and roll. Seriously. Listen to players like Django Reinhart, Chet Atkins ... good players from the age of powerful fifty years ago. They were quick to point, they were gone, and get the new way to breathe your lines, too.
During the construction of, try this:
Take a fork, either within or outside of the current string.
Take a break and listen to what looks like the music unfolds. Try setting the field up or down the neck ... Do not add comments to the first. Can take three note phrase that can play with the selection and a new sound .... breathe to hear, not rush things. Really concentrate on how the music he feels in progression. After listening to and add notes and keep.
Work on the idea of the pain and the struggle against the sentence. The first statement should take a break after ... the second statement should feel the first, third statement can be added some new elements, it should try to play, the original idea involved in bringing
I hear a lot from the famousImprovisers of all styles. Do not stay alone in the style you prefer. Be adventurous.
And here's a crazy idea: Try to sit more than a musician and find work. You'll be surprised how much you have to learn age discrimination can dump your musical research.
# 1 As the old adage "No Pain, No Gain". It's like moving to play well when it hurts the muscle becomes increasingly difficult.
# 2 double jointed thumb may be the result. Try to put more pressure and then the little finger difficult.
# 3 Practice, practice, practice. I think if I'm on the scales in blues, and if someone plays strings in the background, sounds good, even when I make random notes. So I learned to take random notes.
# 1 As the old adage "No Pain, No Gain". It's like moving to play well when it hurts the muscle becomes increasingly difficult.
# 2 double jointed thumb may be the result. Try to put more pressure and then the little finger difficult.
# 3 Practice, practice, practice. I think if I'm on the scales in blues, and if someone plays strings in the background, sounds good, even when I make random notes. So I learned to take random notes.
Answer to Question 1, to slow down. Seriously, take it slowly. You're not going fast with outstretched hands. You have to work on the trigger. Then, if you will play once without any tension in your hands faster. Did you play with a metronome? It is necessary if the speed is a concern. Blade practice scales, passages, etc., only very slowly with a metronome at a low level. If you play online, without tension, without thinking, and without error, then the coup, only one or two clicks. Do not put too much fast forwarding. Speed just relax and discipline.
Need to question 2, you have enough strength in his little finger with a hammer, an arbitrary string. If you are not willing to bet one of two things. First, the strings are too heavy. Secondly, and most likely is the case, your hand position should be improved. If you use your thumb on the upper neck will not have the power to negotiate with the thumb, has stolen his position as the hand lever. Check this out. http://www.chaddukes.org/2... 007/05/startin
Question 3: There are books, schools, etc., over on this issue. So, everything they say here is only part of the answer. However, first you look like solos. Learn to play with them too. What makes them special? Take a lick there. At what grade do you start? What is the degree of the scale is it? It's your uniform? When I speak Greek, then it is necessary to study on your theory. Learn the basics of thematic development, call and response, repetition, etc. It is a good start.
Univee gave good advice, adding that it seems that the problem with the hammer and go with the little finger, the (working with the world) is not only the force that the hammer, but how quickly. The finger should take the pitch again, and fast. The work done at speed, the exercises on certain Univee. Try to do it quickly with just one finger.
Copy By learning to help you just another, just to see how they did it. Find some of his favorite players in the way and see if you (for some of their results look even better - try to) resolve after the hearing. Meet some solos, and you begin to see how. A part of their program by a few visits to your account. With enough from his own jewels, is on his own and not as theirs. Another good trick is to learn to play the voice part of the song. This will help your ear, but can prettify language and what the basis for Univee used only what he meant. Jazz players do not thas a lot, but it's a good thing for all types of music, and makes the song is really lonely. You hear more in the rock ballads.
Q1: Which hand? Assume that either the left to feed () hand and used aircraft of choice: Try stretching exercises, try the cursor in the middle of the neck to move - not the thumb extends beyond the cervix, and try his own hand Relax - Sounds like you "handle" too narrowly.
Q2: Almost everyone has problems with that - try to locate where a field behind the little finger - like the kind of action, both as a finger.
Q3: Home of the root - can not go wrong. Try to put "air" - insert vary the length of the notes and a space - like a horn player in the blasts decision. In addition, change intervals - do not play scales up and back, jumping around. Keep the melody in my head, what they play variations on it, not only in space. Less is more.
On question 1, I recommend that you consult with your doctor, because I can not help but respond.
Question 2: Maybe the problem stems from a natural obligation, which is shared with the thumb. In general, the hammer-ons and are recognized in acoustic and electric.
Question 3: If the publication of his solos and the use of scales to raise brakes and good accent some chords like dominant 7th focus, the smaller is the 7th, minor 6ths, sliding the sixth, and so on. Also do not overlook the importance of the use of blues scales in the third and the seventh note is flattened and then adjourned.
Try these suggestions and see how the improvement of Fear Factor.
Good luck with the medical problem.
Added: Outside of the pain, a double jointed thumb may be a blessing for the continuation of the arrangements. My thumb all the time training on a leash, even if one used by Chet Atkins and Merle Travis in the past.
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