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Cactus Wren
Posted: Sun Apr 05, 2009 3:42 am
Guest
This article, written by a banjo player, is full of creative ideas and
solutions. I had never heard of the one of looking at your tendons on
either side of the wrist to find a good arch.

Here is the article: http://hawthorne.fastie.net/gestaltbanjo/gbv1-7.htm#footnote2

Apparently banjo players believe that stability of the wrist gained by
anchoring 2 fingers (a + c) increases speed and control of im. I
wonder if this technique could be adapted to CG for runs. John Dimick
pointed out the trick that sneaky Yamashita used, of anchoring a on a
string while alternating im.

He also claims that the connection between am fingers is "mostly
mental". That's a new one on me! although he does back it up:

http://hawthorne.fastie.net/gestaltbanjo/gbv1app6.htm
Miguel de Maria
Posted: Sun Apr 05, 2009 6:10 pm
Guest
On Apr 5, 8:51 am, "catpandaddy" <c...@cat.pan.net> wrote:
Quote:
"Cactus Wren" <elegantspanishgui...@gmail.com> wrote in message

news:65969cc4-91b8-4366-bfd6-35308f1392be@z8g2000prd.googlegroups.com...



[Snip:  lots of excellent stuff]



PS... are you related to Cactus Jack by any chance?  Smile

No, this is Miguel--my new sockpuppet name so I can cause more
trouble. I live in Scottsdale and admire the plucky, industrious
state byrd.

Did you mean you practice those plants on banjo or CG?
catpandaddy
Posted: Sun Apr 05, 2009 6:47 pm
Guest
"Cactus Wren" <elegantspanishguitar@gmail.com> wrote in message
news:65969cc4-91b8-4366-bfd6-35308f1392be@z8g2000prd.googlegroups.com...
Quote:
This article, written by a banjo player, is full of creative ideas and
solutions. I had never heard of the one of looking at your tendons on
either side of the wrist to find a good arch.

Here is the article:
http://hawthorne.fastie.net/gestaltbanjo/gbv1-7.htm#footnote2

Apparently banjo players believe that stability of the wrist gained by
anchoring 2 fingers (a + c) increases speed and control of im. I
wonder if this technique could be adapted to CG for runs. John Dimick
pointed out the trick that sneaky Yamashita used, of anchoring a on a
string while alternating im.

He also claims that the connection between am fingers is "mostly
mental". That's a new one on me! although he does back it up:

http://hawthorne.fastie.net/gestaltbanjo/gbv1app6.htm

I'm a big proponent of the two finger plant, and in fact I regularly drill
myself on planting all combinations of fingers on all different string
locations, which really ramps up finger independence and accuracy in a big
way.
catpandaddy
Posted: Sun Apr 05, 2009 7:51 pm
Guest
"Cactus Wren" <elegantspanishguitar@gmail.com> wrote in message
news:65969cc4-91b8-4366-bfd6-35308f1392be@z8g2000prd.googlegroups.com...
Quote:


[Snip: lots of excellent stuff]

Quote:



PS... are you related to Cactus Jack by any chance? Smile
catpandaddy
Posted: Sun Apr 05, 2009 10:28 pm
Guest
"Miguel de Maria" <elegantspanishguitar@gmail.com> wrote in message
news:84be31a7-8ab5-4982-bb56-024b8a0d9a58@y34g2000prb.googlegroups.com...
Quote:
On Apr 5, 8:51 am, "catpandaddy" <c...@cat.pan.net> wrote:
"Cactus Wren" <elegantspanishgui...@gmail.com> wrote in message

news:65969cc4-91b8-4366-bfd6-35308f1392be@z8g2000prd.googlegroups.com...



[Snip: lots of excellent stuff]



PS... are you related to Cactus Jack by any chance? :-)

No, this is Miguel--my new sockpuppet name so I can cause more
trouble. I live in Scottsdale and admire the plucky, industrious
state byrd.

Did you mean you practice those plants on banjo or CG?

I referred to guitar there... on banjo the fingers would be on the drum of
the instrument. My goal with guitar is to account for as many factors as
possible that cause fingers to behave with a mind of their own. That's what
led to my devising exercises where the non-playing fingers are either just
above the guitar body / strings, resting on the guitar body, or planted in a
pre-rest-stroke position against any of the non-plucked strings. The two
goals here are to promote maximum finger independence and finger position
awareness that doesn't become "confused" when a new piece of music demands
different finger placements or stretches.
 
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