Hello,
as far as I know, there are several techniques. And several ways to
describe those.
Some techniques are arm-movement based, others wrist or finger
movement based. Depending on the technique the hand might be closed
or opened and all of them can be combined.
In an description of an arm based technique it is still usefull to
describe the where and when of finger contacts and movements, even if
they are passive, for example to control if they are at the right
place and moment.
The technique I teach to beginners is an arm thechnique with an free
knob which is very well defined, understandable and simple. Its aim
is minimum energy input on maximum effect, simpicity and separation
of movements.
Using the wrist and active fingers for the basic basic coup the 4,
they are not longer available to control the pulse and micro-timing
(inegalite) and for use in c. 6 or c.8.
As one can see from the acctuall interpretation of the Delfino/
Loibner book, written descriptions of the technique are of very
limited use.
Even such a simple technique as the arm thechnique with an free knob
that I teach to my students depends on several factors that hardly
can be described in text: Anatomy (fingers, hand, arm..) and size of
the player, size and shape of the instrument, playing position
(sitting/standing/seat hight, belt system...), handle lenght, knob
size, drag (string pressure, axle fitting), and last but not least
the quality and mainainance of the whole trompette system.
A description of the basic technique I use
==========================================
point the arm forwards, with relaxed open hand, like you sit and want
to shake someones hand who is standing. Close pinky and ringfinger to
the palm. This now looks like a imaginated pistol. Lower this to the
knob so that the knob contacts the palm of the index finger. Bend the
middle and index finger and the thumb till the thumb makes carefull
contact with the tip of the index finger. The knob now is placed in a
kind of squarish cage. The feeling is as if the hand is covering a
feather or tiny animal, no pressure to the knob. Usually in this
position the thumb is above the line drawn from the upper side of the
lower arm. Sholders should be relaxed.
pos.1
movement: falling, gravity based. No active movement.
direction: down (the direction describes the intended (imaginated)
direction, not the vector sum of the whole system)
where the arm can fall down freely, the axle not blocking its
movement, usually somewhere after the position verticaly above the
axle (so, after 12, maybe around 1 to 2) (depending on the size
relation between instrument and player).
muscle action: relaxing the biceps.
main knob contact: inner side of the thumb.
pos.2
movement: pushing the elbow backwards
direction: horizontally back
where the axle is not blocking this movement anymore, usually
somewhere after the position at the level of the axle (so, after 3,
maybe around 4 to 5), (depending on the size relation between
instrument and player).
muscle action: I suppose in the sholder and back.
main knob contact: inner side of index and middle finger.
pos.3
movement: moving the lower arm up
direction: up
where the axle is not blocking this movement anymore, usually
somewhere after the position vertivally under the axle (so, after 6,
maybe around 7 to 8), (depending on the size relation between
instrument and player).
muscle action: biceps.
main knob contact: upper side of the ring finger.
pos.4
movement: pushing forward (kind of boxing)
direction: horizontally away from the body
where the axle is not blocking this movement anymore, usually
somewhere after the position vertivally under the axle (so, after 9,
maybe around 10 to 11), (depending on the size relation between
instrument and player).
muscle action: I suppose shoulder and chest.
main knob contact: palm of the thumb.
In the c.2 the arm moves up and down. The forward and back movement
is rather passive. In the imagination the handle makes forward and
back movement, the arm follows.
The arm movement for pos.2 and pos.4 is the same as if the hanging
arm is swinging back and forth so its some muscles on the chest and
back (the handle holds the arm bent).
please do not forget to remember to refer to me if you use or quote
this text.
I hope nobody tries to learn playing from such an description as I
suppose writing is simply insufficient to teach.
By the way, besides keeping the subject updated, I also would ask for
removing quoted mail text if it isn't really important for the answer.
kind regards
Simon Wascher - Vienna, Austria
---
have a look at:
http://hurdygurdywiki.wiki-site.com
http://drehleierwiki.wiki-site.com
---
my site:
http://simonwascher.info
