Dear Michael, Simon, and all, A month or so ago, Michael raised a challenge to some of us
> We were taught by both [Rivière and Clastrier] ito start the first > stroke at a notional 12.00 by the clock, but there seems to be a new > school who start at 3.00. I don't see any advantage in this. Perhaps > some new timer would explain the reasoning" and Simon responded: > probably its all mainly a question of description. I would describe the > position of the first stroke as 'about half past one' but depending on the > geometry of player plus instrument. ..... The discussion has since gone rather quiet. I would like to respond, to respectfully take issue with both Michael's reference to a "new school" and Simon's explanation of the issue being one of description. In my experience of talking to, and observing, a number of UK and French players there are indeed two distinct "schools" of playing, with experienced and highly proficient players in both schools. As such it is common to find that in a typical UK hurdy-gurdy workshop of intermediate or experienced players the participants are made up of a made of a mixture of these. Rather than use the figures of the clock face, or even up/down direction of the stroke, I would suggest the best way to compare and the techniques of different players is to consider the parts of the hand that are used to play the four different coups, assuming a slightly open hand (forming a little cage). I would describe these four parts as the hand as follows 1) the ball of the thumb, really the fleshy edge of the palm rather than the thumb itself 2) the first joint of the thumb 3) the fingertips of 1st and 2nd fingers, usually working together 4) the upper side of the 3rd (ring) finger In my experience, most players agree that these are the four contact points, but they differ with respect to which coups in the coup-de-4 sequence each part of the hand is used for. The Muskett Method (3rd edition, 1998 on p31) presents the parts of the hand in the order given above, and as I understand the book the intention is that the coup-de-4 is to be played with the impacts made in this order, for exzmple, the description of the Coup-de-1 is is that it should be made downwards with the ball of the thumb. In order to compare this approach with other teaching, I think it helps to consider how these four parts of the hand tend to push the manivelle in particular directions. 1) the palm of the hand provides an impact away from the player with some degree of downward motion. The amount of downward motion depends on the timing of the coup, the later it is made, the more downwards it becomes. 2) the thumb strike is well suited to driving the knob almost directly downward 3) the 1st and 2nd fingers pull the knob towards the player 4) the side of the ring finger works best when providing an upward impact The approach I remember from French teachers such as Maxou, Bouffard, Chabenat, Pignol and others, the first joint of the thumb is used to play the first coup. To me, this coincides with Simon's description. But rather than dwelling on the position of the coup as measured on a clock face , or exactly which bit of the thumb is used, I think it is more helpful to consider what happens next. This makes the distinction between the techniques more explicit. From Maxou's book (Cahier de répertoire), there is a brief recap of the whole coup-de-4 at the start, I would pick out the key descriptors 1. Frappé 2. Tiré 3. Levé 4. Poussé So after the first coup, we then pull towards the player, then lift, and finally push away from the player. Clearly the thumb is used for 1., the 1st and 2nd fingers for 2. the ring finger for 3, and the ball of the thumb would come into play in the final 4th coup, but here it is used to push away, rather than initiate a downward motion (as in the Muskett method, for the 1st coup). To play with this technique, which I understand is quite traditional and not a "new school" at all, the parts of the hand have to be used in the sequence 1) the first joint of the thumb 2) the fingertips of the 1st and 2nd fingers 3) the side of the 3rd (ring) finger 4) the ball of the thumb So I am quite confident that the interpretation of the Muskett method as presented earlier in this message is out-of-step with the technique of most French players (Clastrier, I understand, being a notable exception). It is different by one step in the sequence of parts of the hand, or therefore by approximately one quarter of a turn. As mentioned at the start we have players of both styles in UK. Many who follow the first sequence (the minority) trace their playing back either to the Muskett Method or to lessons from Michael, but they sometimes mention Clastrier's teaching too. I am writing this because I think it is important for the many owners of the Muskett Method (especially beginners who have not had chance to discuss this issue with other players) to realise that the technique described is not the one mostly widely taught. I am hesitant to criticise the Method, for it is an excellent and valuable book, and I would advise all beginners to have a copy. However, it is my personal opinion that when it comes to the description of the trompette technique, it is better for most players to follow the sequence described by Maxou, starting with a down-stroke from the first joint of the thumb, and ending with the 4th stroke as a sharp push away from the body using the ball of the thumb. Neil Brook has illustrated it on his web site http://www.hurdy-gurdy.org.uk/trompett.html and indeed shown it on his DVDs. To Michael I would end by saying this - you did ask the "new-timers" to explain what is better about their approach. I think Simon's explanation holds here, the downward stroke is a privileged point as it is assisted by gravity. Since most music, especially French folk dance music, has an accent on the first beat of the bar, it really is easier to get the feel of the music if the strongest coup is used there. This is the most clearly downward one, coup played with the thumb itself, not that which uses the ball of the thumb. With practice, of course, it is possible to put the accent on any of the four coups and indeed it is a good exercise to work on this. Also, I am not suggesting that players who start the coup-de-4 with the ball of the thumb should consider changing. However, for a beginner, the easiest way to master a basic trompette technique is NOT that described in the 3rd edition of the Muskett Method. I feel that this is a real shame, and I would suggest that maybe a fourth edition could reconsider this aspect ? I am pretty sure that if the description on p.31 is revised by reordering the parts of the hand as discussed above, and the description of the first coup as an action from the ball of the thumb is revised to use the first joint of the thumb, almost everything else can be kept, provided some care is given to the direction denoted by 12-o'clock.in the diagrams. I know I am a "new timer", and do not really expect to command your respect, but I am writing after quite a bit of thought and some consultation, and hope that on reflection you will see this as a constructive contribution to the debate. BTW - Maxou is teaching next weekend in Bath and I know he will be addressing both beginners and teachers in his workshops - I am sure the question of trompette technique will be covered! with best wishes to all, Paul -- You received this message because you are subscribed to the Google Groups "hurdygurdy" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/hurdygurdy The rules of posting, courtesy, and other list information may be found at http://hurdygurdy.com/mailinglist/index.htm. To reduce spam, posts from new subscribers are held pending approval by the webmaster.
