Alan
If you are in the situation I was when beginning to play again, it
is more a question of getting your hands back into a supple enough
state to be able to do lute exercises.
The index of my left finger after one or two exercises would click,
and then a sort of burning sensation would appear.
I did all sorts of finger exercises without lute: just finger
exercises or movement with those Chinese balls that are supposed to
cure rheumatism. It helped slightly, but then I found an exerciser
called the Gripmaster.
It was created by a trumpeter, and looks like it; you can work each
finger separately. Don't even bother working them all together. This
appears to have "cured" the problem with my index finger.
Of course it is no replacement for finger exercises on the lute,
which both strengthen and teach you the special coordination needed.
It may be of no use whatsoever to a younger person who has always
played and kept in trim.
It is not just a question of strengthening the fingers, however; it
does seem to give more control. The fingers become more supple and
progressively springy (shock absorbers?), and something happens to
the pads of the finger tips, which seem to become more "squidgy". The
tops of each "piston" is a slightly patterned plastic. This seems to
alter the texture of the skin slightly, giving a smoother surface.
After using it for a minute or so, the sound from the lute seems to
become less scratchy.
The only thing is not to overuse it, like any exercise, as then it
hinders play. Just moderate use, helps you to warm up the muscles,
and gets me playing more quickly.
I have given it up, several times, thinking I no longer had use for
it, but I think I have always slipped back slightly. It exists in
various strengths, and is used by shooters, climbers, trumpeters, and
some guitarists.
At first sight, it would be more useful for guitarists who need to
hold down more tension, some like it some don't.
I lost mine on a trip out somewhere. I immediately bought another
one. I have the red (medium high)and blue one (medium low) good for
the little finger, but mainly use the red one.
Sometimes I use the blue one before the red, and then after the red,
when I think about being very cautious, warming up, and warming down,
as it were.
Be careful, the black one is also red, but with more black on it, and
that might be too powerful for strengthening little fingers, etc.
Actually, I just looked at the reviews on Musiciansfriend.com and I
couldn't find any negative remarks, but I do remember reading some
previously.
Here is a positive one from an older guitarist : "My speed and
accuracy increased and, also being an older musician I had no fatigue
or cramping in my fingers as I usually have. "
I must insist that this is just my personal experience, and the same
exerciser might be a disaster for someone else, perhaps even doing
damage, or just no additional help if you are already in good form.
There are also books on general exercises specifically aimed at
musicians. I bought one in French, "Education physique preventive
pour les musiciens"
from http://www.arts-medicine.com/eng/indexeng.php?rub=3;
but there must be ones in English.
Anthony
Le 26 févr. 08 à 05:47, Ed Durbrow a écrit :
On Feb 22, 2008, at 7:46 PM, Alan Hoyle wrote:
So... might I ask if anyone out there can suggest good ways of
spending the
first half hour or so of practice time so that, like Anthony, I
don't have
to spend all my precious playing time trying prevent my playing
deteriorating once again, but might actually see some progress.
First of all, I'd say be your own teacher. Nobody knows better than
your self what your hands need. It is a matter of tuning in to your
body, knowing your weak points and finding ways to exercise them.
There have been some hand outs at LSA seminars of exercises by Paul
Odette and Robert Barto. There are probably many finger exercises
available on the web for guitarists that could be adapted for lute.
You can take almost anything from any piece and make an exercise
out of it. One thing I would recommend is to play just the right
hand alone and work on a passage, paying attention to what the
fingers are doing, tone, attack, relaxation, speed etc. You can
make a pattern of it and do it on different strings. Then do that
with the left hand. Circle the problem spots in a piece, extract
them and make exercises out of them. Do NOT look at the music! Look
at your hand (one at a time), then don't look at your hand and do
it with your eyes closed, maintaining a relaxed and upright posture.
I'm starting to go on a bit. I'll shut up. I'm sure others will
have lots of suggestions.
Oh, one other thing. The mother of all teachers is a recording device.
Ed Durbrow
http://www9.plala.or.jp/edurbrow/luteinfo.html
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or.jp/edurbrow/
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