Monthly Archives: April 2012

Another challenge that helps create more neural pathways by using an object as an extension of yourself. this means that you’ll be locating pitches with something other than your body. Since precision playing is so dependent on pitch, these experiments for approaching any song have you use elbows, head and even… well, take a look. [...]

Once again we work with the concept of “playing without trying,” intended to create the state of mind, body, sensation and approach to playing that is free of tension, anticipation, anxiety or effort. This time, your are eyes closed in order to intentionally disorient yourself; you then “fit” a song into your random, free flowing [...]

Now that you’ve practiced isolated attacks and decays, you’re ready to work with all of the possible combinations. This will sharpen your ability to reproduce and differentiate them with consistency. Each variation requires subtle and specific movements of the volume hand. Record yourself so that you can hear and evaluate your progress.  

Let’s continue the exploration of the way we “shape,” or lend basic character, to any given pitch. This time, we’ll isolate the decay of our notes to really discern the differences. How you choose to end a note is key to its overall sonic quality.  

A brief explanation of the approach and a look at the rudimentary movements we’ll be using in the second part of this tutorial.

To develop pitch fingering techniques and really make them your own, work from your wrist to your fingertips this is the foundation. As you become more proficient at this, the movements that yield repeatable results will happen naturally and they’ll also grow more subtle. Depending upon the melody you want to play, these movements will [...]