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 Post subject: Right Hand Mapping
PostPosted: Sun Aug 29, 2010 12:29 pm 
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The need for integrating the technical skills learned in Phase I and Phase II (formerly known as Phase III) is critical if we are going to benefit from the work done in those Phases.

I have noticed a lack of the skills associated with our technique work while playing repertoire; positioning, active/passive finger roles in sympathetic motion, the analysis of alternation and sympathetic motion and range of motion.

Inherent in the playing of repertoire, especially in performance seems to be the need to control the finger movements which usually results in the restriction of the fingers natural movements (a radius of 30-40 degrees of motion). In addition to causing tension (which is not as prevalent in our technique work) it causes us to miss more notes.

When we restrict the natural motion we do so by using the opposing muscle group to slow down the active muscle group in what is virtually a simultaneous (or very near to simultaneous) contraction of the flexors and extensors.

In addition we are NOT taking advantage of one of the great benefits of my method and that is that when one finger plays the other finger(s) are prepared to play the next note(s). This causes more errors which generally causes more of a restriction of motion which go ons until our hand feels unlike it does normally.

Right Hand Mapping requires that all right hand fingerings be written out and alternation and sympathetic motion patterns be identified. Then we painstakingly integrate these patterns along with the proper range of motion to map these patterns into the piece.

The benefit of this is (when one is playing appropriate repertoire) effortless playing - taking advantage of all of the technical work done before! It almost makes all those exercises (nail strumming, MKI), worth it! :P


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PostPosted: Mon Aug 30, 2010 3:49 am 
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Location: Atlanta, GA USA
It's great to see the logic behind this rh mapping. I believe you said it should also aid in the memorization of a piece?

Right Hand Mapping requires that all right hand fingerings be written out and alternation and sympathetic motion patterns be identified.

Do you have some shorthand notation for indicating those patterns?


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PostPosted: Mon Aug 30, 2010 11:25 am 
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Yes, first this right hand fingering (and mapping of the patterns) should be part of the memorization process.

I have, over the past few months, identified patterns (what I'm going to call complex alternation patterns and will release an exercise that will help with these patterns.

The symbol of sympathetic motion is an arrow (from the passive finger, pointing to the active finger, or the one that extends out the farthest). No symbol simply means either an alternation a repeated finger.

Thanks


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PostPosted: Mon Aug 30, 2010 1:52 pm 
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New Patterns (terminology)
ALTERNATION
Simple Alternation - I/M, M/A (single strings - scales)
Complex Alternation (I on 3, M on 2, A on 1)
I/MA
IM/A
IA/M
The rules of alternation are the same in these above patterns.

SYMPATHETIC MOTION
Simple Sympathetic Motion (PIM, PMI, PMA, PAM)
Complex Sympathetic Motion (consisting of at least one sympathetic motion and alternation pattern) - These are what we have called 'Arpeggios'.

I always felt the terms Sym Mo and Arpeggio were at odds. In musical terms the Sym Mo exercises are in fact arpeggios so we were mixing technical and musical terms.

Whatd'ya think?


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PostPosted: Mon Aug 30, 2010 2:28 pm 
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Joined: Mon Oct 10, 2005 4:07 pm
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Location: Oregon
scott wrote:
...
IA/M
...

Whatd'ya think?


I think I'm gonna hate that one.

More seriously, Scott and I worked on this a bit in Saturday's lesson. It looks like it will be very productive. After the temporary feeling of "these are not my hands" wears off.

Brent


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PostPosted: Tue Aug 31, 2010 3:30 am 
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I like the new terms- they're more descriptive of what's actually going on.

I'm with Brent on the IA/M- perhaps it needs it's own description, something like the "you've got to be kidding" pattern.


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PostPosted: Tue Aug 31, 2010 11:10 am 
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I think that description has already been taken- long ago.


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PostPosted: Wed Nov 10, 2010 2:18 pm 
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I just wanted to post some observations regarding my recent work with Right Hand Mapping.....

I've been targeting specific pieces to integrate right hand mapping. I had this strange sense as I played the works (with learned patterns) where I felt I was kind of watching the piece from above. What I've come to learn is that by not specifically integrating the sympathetic motion and alternation patterns into my playing a 'state of confusion' lingered. It's only after doing said integration that this clarity is experienced! Wow.

Also, I'm working up some maintenance repertoire (old rep not on my upcoming concert programs) for a private performance at the Portland Art Museum in a few weeks. While I haven't specifically mapped these pieces (right hand) I do notice that I'm am, at times, doing the correct motion for sym mo or alternation. So, perhaps, with enough of this kind of work it may be possible to have this naturally take place!

Scott


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