BAM!

[anonymous0726]

Ok, all.

About a year ago, I think it was, I threatened all that I was working on what I call 'Chaotic Fingering'. I have arrived at an exercise or two that gives a good impression of what it feels like:

Play -- arco, of course -- a Bb major scale with these rules. Going up, play each note of the scale with each finger either ascending or descending in rotation. No open strings.

An ascending example:

     A string:
     1  2 4
     Bb C D
     
     D string:
     1  2 4
     Eb F G
     
     G string:
     1 2  4 1 2  4 T 1 2
     A Bb C D Eb F G A Bb

Now -- while you do this, don't concern yourself with keeping your hand in any kind of 'open position'. Don't consider the shift or how far it may be. Just want the next note and simply use the prescribed finger to play it. Play this exercise musically or you can't even do it. This is ALL about ears.

Make up some other whacked-out fingering schemes and work on them.

I want to add that this isn't something that I'd necessarily recommend to a beginning student, but I haven't even thought about how this would play on a more-beginning student. That'll come.

Anyhow -- when you get this going and it feels warm and fuzzy and sounds beaoootiful, you have the feel of the chaotic fingering groove.

Where this stuff really gets it for you is that it completely opens up the bass and erases all of the mental boxes that traditional training and years of straining against intonation have created in you. It also gives you much, much more freedom in phrasing and articulation when you are wielding The Stick. This ISN'T about speed in its essence, but as you get a hold of this tiger's tail you will find more freedom around the bass when speed is needed.

This is just the beginning....

[Alexi David]

On a related note, I just printed out the "exorcises" a few days ago. Been reading it over and over again, absorbing the philosophy. Will go through it as soon as my RSI flareups subside....but I think it's great stuff and very logical and useful and musically sound. They're a good jump off point for me, as I'm trying to make some decisions about my fingering - since I have enormous hands which can be used to my advantage


I recommend you all check it out.

[anonymous0726]

Keep in touch with me on that -- I'm always interested in expanding on how to show it to people as well as seeing how (if?) it helps people.

And thank you for the kind plug

[Chasarms]

This is interesting in light of what I seem to be facing. I see the collision of two worlds quickly approaching when it comes to my technique.

When I pick up the bow, I tend to put my game face on. I am very prone to rigid conformity to technique and tend to be extremely hesitant to stray from fingerings that are deemed "correct." I don't know why, but there is a security blanket there.

Although, I know that there is more to be had. If I am goofing off with the bow and not reading sheets or playing a piece that I have memorized, there are times when I can get something going on with the bow that I can't otherwise. It DEFINITELY has more musical magic to it that I can otherwise produce.

When I am pizzing around with the boys, I have many more moments when I tend to revert to the pre-teacher, pre-method, "whatever it takes to get there" mentality." They can be inspiring, rewarding and equally devastating, in that you sometimes dig a hole that you can get out of.


If I am going to get to a point where I can produce something regularly wonderful with that big wooden box, I know I am going to need to reach a pleasant middle ground.

I will never be a human upright player piano, but I know if I get too Zen about it, I'll hit a wall for sure.

[anonymous0726]

I think a combination of Zen and homework is the answer. In equal and ample amounts