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I have seen videos by some amazing and well established drum tutors which state that when practicing a move, make sure your hands are as strong as each other, and you don't play all dexterity in your lead hand. Ghost notes are a good example - said videos recommend you can do it both ways around. Another example was a sticking of RRLRRLRRLRRL on hi-hat ...


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Some points I want to hit right up front here (and then I'll get very wordy w/ the actual exercises). As you can tell, this is a subject near & dear to my heart. Good blend between voice parts is actually (mostly) about good blend between individuals. Once a person has decided that they'll pay attention to good blend, then they tend to bring that ...


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Before I talk about cool-down exercises-- I'd be wary in your situation as you describe your feelings as "sore" and "uncomfortable". After a good practice session, you may feel a general sense of tiredness, but you should NEVER have pain or even soreness. Robert Schumann invented a device to "stretch" his fingers and ended up with an irreversible hand injury ...


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This gets easier as one's hands grow larger. One way to work on correct, relaxed finger position is to play scales while keeping the fingers curled and relaxed. She should play any kind of exercise she is already playing, or just scales if she has no exercises, while observing the following: The wrists should be above the level of the keyboard, but not so ...


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Lots of study books tackle higher positions, for example Otakar Ševčík's School of Violin Technique Op. 1 Part 2 and Mary Cohen's Nifty Shifts And some pieces are written to help beginners explore other positions, for example David Sone's Eight Pieces in the Third Position Such studies will help you feel secure out of first position, and (as tarun ...


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Take out your copy of the "Bach violin solo sonatas and partitas" urtexts and pick out the pieces that are monophonic preferringly containing an ample amount of slurs. Try not to break slurs or other obvious phrases across strings. That makes for a solid amount of exercise for 2nd position but also 3rd and 4th.


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First, pick a position that you want to focus on. Play through scales of pieces that you will use the position on, practicing shifting in and out of those positions. Don't necessarily play your scales in order - shift around notes on them to be able to simulate how pieces might play, and go all over the fingerboard. If you are struggling with intonation, ...


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The disconnect between chest and head voice that you experience is completely normal. It is called the passaggio. To minimize the difference in sound between the two vocal registers, you must gradually make them meet in the middle. Chest For your chest voice, try and raise your overall range in half-step increments. Use any of the standard effective ...


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It may sound glib, but study the playing of guitarists such as Django Reinhart, who managed very well with a couple of fingers - the others were there, but in a similar manner to yours, worked together rather than independently.


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No. True perfect or absolute pitch is an inborn and automatic trait that cannot be trained or learned. People with true absolute pitch hear different musical tones as clearly and effortlessly as normally-sighted people see different colors. It tends to be approximately as rare as true tone deafness (that is, it's a lot less common than many people think), ...


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Tim H's comment is a good place to start, since doing two different things with two hands at the same time is pretty much the same process on every instrument. Some general advice for any instrument: There are no shortcuts. Patient, consistent practice is always the most important part of learning any skill, and certainly musical instruments. The more ...


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If you're serious about your musical career, it is imperative that you get together with a physical therapist who is WELL VERSED in the issues that musicians (particularly pianists and violinists) face. It is a specialized problem that needs specialized approaches. It's much like the sports-medicine folks... What is likely happening is that you are ...


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I would like to cite an answer to another question about the Hanon exercises: "Usually with a book of etudes, the thing to do is to work on one for about two weeks, give or take, allowing the tempo to increase by itself, guided by comfort, and then move on to the next etude. After a couple of months of this, you can start cycling back to the first, and ...


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It's impossible to diagnose exactly what she is doing over the internet, but so long as the unused fingers are in a relaxed natural-looking position, there is probably nothing to worry about. Developing independent finger-movement takes time. As she progresses to playing music with more chords than single notes, the other fingers will naturally have to "stay ...


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Let me answer the original question: "How do you call guitar technique for playing one instrument, but making it sound like there are at least two guitars?" You call it "good". It is not as much a technique but rather sufficient mastery and control of the instrument in order to execute multiple simultaneous parts or voices with a separate identity. ...


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It is definitely a Travis Picking style as well as Tommy has got a Hemi installed his hands! The guy is just fast as all get out. Here is a link to the tab of his live version of the song: http://www.tabpigs.org/artists/te/classical_gas.pdf . You might be able to study it and work on sections. As for what exercises would be good to practice, I'm not quite ...


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For range, you can do finger stretches away from your guitar. Things like spreading your fingers fingers apart (two at a time) using your other hand to push them apart, pulling individual fingers backwards, and also pulling all fingers backward together (kind of a palm stretch). You can do this frequently at any time without having your guitar present. And ...


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There are little finger exercising gadgets you can buy. I've never used one, but I knew someone who found it helpful. It looks a bit like a set of trumpet valves, without the trumpet. Maybe a physical therapist could help too. I'm a cellist, not a guitarist, so I can't swear these ideas will carry over for you -- but I'd like to give it a try. First, I ...


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Doing P-I-M-A-E pickling exercises is a great idea for introducing the right hand pinky. Play scales with your right hand thumb plucking the Low E and A strings your Index plucking the D, middle gets G, Annular gets B and pinky gets high E. It is very counter intuitive at first but after a while you do get the hang of it. This will give a depth of ...


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If you're going up or down the piano playing octaves you'll need to move your arm, but you should minimize the movement as much as possible. A lot of times beginners will move their arm up much more than they need to in general when moving up or down the piano. Minimizing the movement minimizes the distance you need to move from one octave to another. As ...


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I suggest exercises with 'aah', 'yaah' and 'aeh' sounds. Go down from c until the note you can sing like five steps each time chromatically... (C B Bb A Ab brethe and B Bb A Ab G breathe....)


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Usually with a book of etudes, the thing to do is to work on one for about two weeks, give or take, allowing the tempo to increase by itself, guided by comfort, and then move on to the next etude. After a couple of months of this, you can start cycling back to the first, and continuing to review. This means that if you spend 8 minutes working on the etude ...


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The book doesn't specify what path to take for a good reason and that is the final goal is to master them a faster speed and exact path you take isn't as important as where you end up. A simple example is you may find that exercise 2 is easier for you then exercise 1 so you may be able to master exercise 2 at a bpm of 108 before you are able to master ...


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Here's an instructional video showing some pretty great exercise routines for fingers. (Was advised to me by a guitarist very good with his finger control, so I believe the exercises are effective.) For the record, the name of the video is "Greg Irwin - Finger Control & Fitness".


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Practice longtones with crescendos and decrescendos, practice all your scales, and practice scales with different tongueing patterns like tongue slur, tongue two slur two, etc.


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I have thought about this too, from the point of view of an old guitarist who is currently trying to master the piano. My main conclusion is that I am really not convinced that "finger strength" is the crucial thing; what you really need for almost any musical instrument is flexibility and finger independence. For instance, when you say " My ring finger ...


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I've had luck with the Grip Master (and other derivatives) series of hand exercisers. I can easily and quietly use it at my desk at work while mindlessly working on something else. There's a PDF that Prohands (the originators of these products) that has many exercises available for musicians with demonstrations; but I've found, specifically with guitar the ...



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