10 Fast Fingers Download
Alterio Wihl
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Now apply the same accenting technique to Ex. 4 (5-stroke ruff). Start the ruff by dropping the stick down toward the drum using the wrist to play the first stroke (the first of four grace notes) and play the remaining three grace notes with the fingers. To play the accented quarter-note, snap the fingers into the palm of your hand (without getting tense) while raising your wrist back to the starting position. You will now be ready for the next 5-stroke ruff.
Did you learn how to play an instrument as a child? Were you older when you started playing the flute? There are many benefits of having music lessons in your lifetime, faster thinking, better discipline, are just a couple of music perks, and you may be surprised to hear that fast fingers are another benefit of playing the flute.
Interesting observation. I have used a keyboard to earn a living much of my life, as a computer teacher, translator and secretary.
My flute fingering is much slower than I would like, but I try to focus first on accuracy, then on speed, just like typing. Notes, or letters, will never be correct fast until we can get them right slow.
Thanks for the wonderful podcast series!
Cassi has four exercises that will not only help you remove finger tension, but they will help your fingers get stronger and help you play faster. And the best thing is that you can practice some of these away from the piano!
To do this we need to create little circles with our wrist, behind the fingers. This engages our forearm and allows our fingers to be in a better position to play the notes. As we get faster the circles will get smaller.
Journalism was already on the fast train to Fucksville when I emerged blinking and broke from the chrysalis of Cambridge University, a punkish moth rather than the beautiful butterfly that teachers and dons had assured me the time, effort, and cash would buy me. It turned out that the other requirement was to have emerged from a womb owned by a rich woman and impregnated by a rich man. I had carelessly neglected to do that. So off I went to learn my trade at Pensions World magazine before swiftly tilting towards tech journalism, then onto music, then into the dark magic world of the newspaper comment desks and other hives of scum and villainy.
Being mad was important because the economics of this kind of content required fast output (since timeliness is critical) and high engagement (since this is how editors, and writers, measure success). I write quickly when I\u2019m angry, and anger begets more anger, so people are more likely to share and react.
If she was so ashamed she would have stopped. I have also talked about my guilt and shame about writing fast-response comment. I, like Ditum, needed the money. But my guilt didn\u2019t come until later after I had resigned from The Telegraph before they could fire me after I had started on a journey to refusing to write opinions for the sake of it after I had basically given up on making a proper living in favour of scraping and surviving barely. A big mouth had got me a career in journalism, now it was destroying everything I ever got my hands on. My Midas touch turned everything into ashes.
I would. I would do it all again. Every painful moment. Every time I didn\u2019t get promoted or paid properly. Every time I nearly broke down completely. Every fuck up and failure. Because journalism isn\u2019t a trade to me, it\u2019s a pathology. I am Kurtz in the jungle, waiting and planning. I am Malcolm Tucker admitting that the job has taken him over, that it \u201Cfucks me from arsehole to breakfast\u201D.
I've searched around but I haven't found an article that shows you how to practice to play faster. Now don't suggest to play it over and over again until you get faster, there have got to be a technique!
Also, I find that if I play each note w/ only one finger on the finger board, I can play faster but if I keep any fingers on the board, I have to struggle to keep it going (and I know this is bad). an example would be the running passage of Czardas (which is what I'm trying to learn)
1) The degre eof finger pressure varies according to the spee doyu arevplaying. So if you pracitce slowly with the finger pressure oyu would use at that speed then you are not pracitcng at all as you would play fast and are essentially wasitng time.
That is, plat the first note on a down bow. Repeat it on the up bow slurred ot the second. Repeat the second sluured to the third. Reapt the third slurred to the fourth and so on. Gte this faster and fatser with the metronome until you are off the scale. this tehcnique forces the left hand to change ahea dof the bow, or rather it ensure taht it is alread chnagedbefore the bow changes diretcion.
January 29, 2007 at 07:27 PM I once had someone tell me when you've got a passage and you have been working on it, and you can't get it faster, take (in this case) a bar or two and sing it at the speed you want (getting the closest approximation of pitches you can -- thinking each and every note, since you have been playing it). So, it would be like this:
For some reason, this often works. You have to do your homework ahead of time -- but I think the concept behind it is retraining your brain to think of it at full speed after all the slow practice. It gives you a chance to think the fingers without them slowing you down. I got the Barber 3rd movement up to a slow performance tempo this way after doing rhythms, just a couple of bars at a time.
January 29, 2007 at 08:46 PM When I'm trying to speed something up, the first thing I do is to isolate the left and right hands and try to see if there is something specific slowing me down -- so for example, if you have a fast sautille passage, you might try playing it legato at various speeds, with rhythms, etc to work out any left hand issues before you worry about the bow. You might also try executing the bowings you want on open strings or on a scale to see if there's a right hand problem.
Once the left and right hands are working okay separately, you need to put them together. For detached strokes, the rhythm comes from the bow, and so your left hand fingers have to be in place ahead of the bow strokes -- sometimes it helps me to think about the left hand having a rhythm that is slightly "on top of the beat" compared to the right hand. You can use almost anything as an etude for this -- Kreutzer 2 with bowing variations, or scales...
The thing that helps me the most in connecting slow practice to fast playing is to think about playing groups of notes rather than individual notes. Slow practice is great but if you're used to thinking about your notes one at a time, it doesn't transfer well to fast playing, because the notes go by too quickly.
January 30, 2007 at 03:18 AM A good way to learn to play passages faster (especially for fast 16th or 32nd passages) is to play them with different rhythms at a slower tempo. This will enable your fingers to "learn" the passage, and it will become more intuitive.
PS. Harmonic fingers (as if u were playing every note as a harmonic) will allow you to move your fingers much faster and will keep your left hand loose and free. they will often be all the pressure needed when playing such fast passages.
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