![]() You then „prime” your fingers by lifting them. So, a neutral position when you strap in should be with buttons pressed, not hovering comfortably above. If those are inner muscles, then you need to relax your grip and focus on lifting your fingers in rhytm instead of pressing in rhytm and let the residual tension of the hand press buttons for you. ![]() So - when you end a session with tired fingers focus on which groups of forearm muscles hurt - if those are outer muscles, then it is normal and you just have to train more. ![]() This is because we don’t really use them in everyday tasks, so they can be trained for speed, timing precision and endurance much better than flexion muscles. It is hard and awkward at first to control both tasks at the same time, and remember what each hand is supposed to do, but it is even harder for me to add accompaniment to a fully smooth melody later on.Īnd a word about muscles - the single best and eye opening tip I ever got from a seasoned piano player was that music is played with your finger’s extension muscles, not flexion muscles. This is why I usually try to learn both simultaneously. A second thing about chords - I only get the flow of the tune right when I finally merge accompaniment sucessfully with the melody line. This approach really tought me how melody is constructed from harmony and then I already had many common melody patterns already trained in my muscle memory. Then practiced different arpeggio patterns of those chord progressions, and finally moved to linking those arpeggios or oom-pahs with different transitions. The method was this - I first practiced simple 2/4 and 3/4 tempo oom-pahs of common three/four chord patterns until I could unconsciously move hands to root positions. When I started learning Hayden, because of how this layout has music theory embedded very directly in the button grid, I found out that it was way easier for me to get accustomed with common melody phrases by playing chords instead. Should I just assume that everything is in C Major and somehow guess the first note and the rest will follow? This is kinda what I was alluding to with me starting in the wrong place - if I started Duelling Banjo on a note I thought was correct lets say I though it started on Re - then before long I would be playing complex accidentals Hi - another key related clarification requiredĪre you saying that "Doe a deer" and "Dueling Banjos" are both played in C major key but that Duelling Banjo's starts on the Mi? Learn to play and internalize that song (in as many different keys as you can) and you will have learned many patterns that you can apply when you recognize them in other tunes. For instance, the notes on the words “Mi, a name” are the same 345 that I pointed out in Dueling Banjos. Since I posted the above, it occurred to me that “ Do Re Mi” (which I called “Doe a Deer”) is deliberately and obviously full of the useful patterns I mentioned, because the song is meant to teach children how music is put together. One day soon, for all you know, you could be playing things you may now think are impossible to master. The lesson here is perseverance, patience, and to stick with it, and what may seem impossible now, will become feasible soon enough with practice, and by not being disheartened by maybe slower progress than you may have expected. It helped me also because I always had interest in music, and so I could have in my mind a tune, and follow along with it sometimes on the page as I heard it to a degree. Gradually reading it helped to speed things up greatly. ![]() Soon, I began to properly learn a bit more music theory enough to then get going, at a rudimentary level, basic stuff, but enough to enthuse me to become more proficient at the process. When I first tinkered about with my first concertina I just played it a lot, and got to know how to make sound with it, and let my fingers and mind go freely over the buttons.
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