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Thread: Abysmal Right Hand

  1. #26

    Default Re: Abysmal Right Hand

    What I find amazing is how tension that begins in ANY portion of the right arm (shoulder to pick-fingers) almost immediately translates into an almost completely rigid and unforgiving arm. And for this, I agree with JonZ, above, that consciously and intentionally "willing" the arm/hand/shoulder to relax is worth a shot.

  2. #27
    Unfamous String Buster Beanzy's Avatar
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    Default Re: Abysmal Right Hand

    Quote Originally Posted by WillHelton View Post
    Thanks for the tip, Eoin.

    Is this bit of card warm-up covered in the book? Looks like a good publication. I'll definitely get a copy of it.

    Best,

    Will
    No I think that’s just something he suggests when people encounter difficulties with their stroke technique.
    It’s just a simple trick to get a good reference point for depth and a decent flat transition across the plain of the strings.

    One mantra he often repeats is “The lighter the touch, the sweeter the sound”, it certainly works for speed until you get very comfortable and can begin to draw more volume without digging in.

    The book focuses on exercises to develop different strengths to ensure a continued development regime in a broad range of skill areas.
    Here’s a pic of the contents page;

    Click image for larger version. 

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    Eoin



    "Forget that anyone is listening to you and always listen to yourself" - Fryderyk Chopin

  3. #28
    Registered User Louise NM's Avatar
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    Default Re: Abysmal Right Hand

    Will, by any chance does octave mandolin appeal to you? With your height and hand size, you might find it a great fit.

  4. #29
    Innocent Bystander JeffD's Avatar
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    Default Re: Abysmal Right Hand

    Quote Originally Posted by Bill McCall View Post
    So how do you 'consciously relax' you arm? Or wrist?
    I have found some success with a mental inventory method. I just consciously think of every part individually and kind ask, are you as relaxed as you can be? Every finger, thumb, wrist, lower arm upper arm, shoulder. I just go through them one at a time, usually starting at the shoulder and working down, although recently skipping ahead and starting at the lower arm.

    I know its kind of kookie. And it doesn't take as long as it used to, but when I go over the inventory, and seek out every bit of unneeded tension, the result is amazing.

    I try this technique for getting to sleep sometimes, but it doesn't seem to work.
    A talent for trivializin' the momentous and complicatin' the obvious.

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  5. #30

    Default Re: Abysmal Right Hand

    Quote Originally Posted by JeffD View Post
    ........I just go through them one at a time, usually starting at the shoulder and working down, although recently skipping ahead and starting at the lower arm.

    I know its kind of kookie. And it doesn't take as long as it used to, but when I go over the inventory, and seek out every bit of unneeded tension, the result is amazing.........
    It's interesting that all any muscle can do is contract or not. Any motion is a result of certain contraction/relaxation sequences. If my arm is tense, the proper contraction/relaxation sequences are inhibited. I sort of do what you describe, but for me it is more that I "tell" my arm from shoulder to fingers to "cut it out"-- complete absence of contraction, for at least a few instants. Things work better after that.

  6. #31

    Default Re: Abysmal Right Hand

    Guys, I've had a bit of a breakthrough and would like to share what I've found.

    After my recent posts, I was watching a Mike Compton video and reading a few things and it struck me how much further up under his thumb Mike holds his pick. Unlike me (I hold/was holding my pick between the tip/first joint of my index find and the fleshy part of my thumb more or less under the thumb nail), Mike holds his pick about the same place on his index finger, but more or less under the first joint/ball of his thumb.

    I thought, "Well, what have I got to lose?" and decided to copy that. Oh, my.

    Although it felt (and still feels) a bit odd, I instantly found that things were more balanced and I needed less pressure to control the pick. This has resulted in me not bobbing in and out very much at all – particularly if I play some slow warm-ups beforehand and adjust my feel to things.

    In fact, I've had such an improvement in my playing that I just downloaded some backing tracks from the Flatpick Apprentice website (http://flatpickapprentice.blogspot.com/) and found I could comfortably jump in at 200bpm (4 beats to the bar) and quickly work up to 215bpm, but not maintain that for more than about half a song.

    So now I just need to refine my attack, relax more and practice my warm-ups and then work slowly at playing songs from about 190bpm until I reach a good session tempo.

    For me, this is an amazing revelation. And hopefully it will help someone else, too.

    All the best,

    Will

  7. #32

    Default Re: Abysmal Right Hand

    Quote Originally Posted by Beanzy View Post
    No I think that’s just something he suggests when people encounter difficulties with their stroke technique.
    It’s just a simple trick to get a good reference point for depth and a decent flat transition across the plain of the strings.

    One mantra he often repeats is “The lighter the touch, the sweeter the sound”, it certainly works for speed until you get very comfortable and can begin to draw more volume without digging in.

    The book focuses on exercises to develop different strengths to ensure a continued development regime in a broad range of skill areas.
    Here’s a pic of the contents page;

    Click image for larger version. 

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Views:	172 
Size:	685.4 KB 
ID:	177935
    Thanks, Eoin. I bought a copy shortly after reading your first post about the book and it's a real winner. A lifetime of good practice material that I have already begun applying.

    Much appreciated,

    Will

  8. #33

    Default Re: Abysmal Right Hand

    Do you play with a strap. I'm a taller player and found the combination off adding and armrest and a strap made the whole instrument feel much more stable even when sitting.

  9. #34

    Default Re: Abysmal Right Hand

    Quote Originally Posted by dadsaster View Post
    Do you play with a strap. I'm a taller player and found the combination off adding and armrest and a strap made the whole instrument feel much more stable even when sitting.
    Yes, I do, but I prefer to sit when playing for the extra support.

    I've considered an armrest, but wasn't sure whether it would really make a difference. Plus, I've been told it kills the tone of the instrument.

    But I'll look into this. I've tried other things, so this might really help.

    I've also posted a comment out of sequence above saying I've made a bit of a breakthrough by changing my pick grip. Hopefully it will help others, too. I've seen an instant positive change in my playing.

  10. #35

    Default Re: Abysmal Right Hand

    Quote Originally Posted by Louise NM View Post
    Will, by any chance does octave mandolin appeal to you? With your height and hand size, you might find it a great fit.
    Hi, Louise.

    I had typed a long reply to this, but somehow it didn't get posted.

    I have considered the octave mando approach, but I can't afford the prices and really like the high sound of the little mando.

    But it's a good suggestion. I would like to play an octave mando at some point. Who knows. I might be converted.

    Best,

    Will

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