inimeany wrote:Codmate: do you have some more information about the technique you describe? I don't understand how you turn your wrist. What direction?
Philip Hii discusses 'push stroke' (which is the technique you are talking about) in his article 'Projection on guitar'
I have reproduced it here
Owl
The Push-StrokeMost methods are concerned with the first option; that of developing a strong free-stroke. Although there are probably as many opinions on how to achieve this as there are players, I find that what has been called the push-stroke is the most effective in playing loudly and with minimum effort.
2 This technique is not new and it is indeed quite surprising that so little has been written about it.
The push-stroke uses a combination of finger strength and wrist weight. This weight can be likened to the weight of the arm used by pianists. Pianists know that in fortissimo passages, sheer finger strength alone will not suffice. The weight of the arms has to be utilized, and in some extreme cases even the whole body has to be drawn in for additional power.
3 Most guitarists recognize this and advocate playing from the knuckle as a means to increase the power of the stroke. I find that although the knuckle joint does provide an essential component in the leverage system, concentrating the action in the knuckle has certain disadvantages. The most apparent disadvantage is the loss of finger independence resulting from the arc-like motion of the finger during the execution of the stroke
This loss of independence is easy to explain. Start by flexing the i finger, using mainly the knuckle joint. It will be observed that there is an instant tendency in the m and a fingers to follow and move with the i finger, To minimize this tendency of the fingers to move in sympathy with each other, the finger plucking the string should move in an upward circular motion instead of the arc-like path. It is obvious that after the finger has plucked the string, the remaining follow-through of the finger is unnecessary. The trick is to push the string inward just far enough so that it doesn't yield a thin and superficial sound and then to release it immediately. It should be noted that most beginners have a weak and superficial sound because the string is not displaced enough and because there is no wrist weight used.
The active participation of the wrist in the push-stroke means that the right hand has to be slightly elevated. To find this elevation, try the following exercise. Place fingers i, m ,a on the first three strings and the thumb on the fourth string. Let the fingers relax. They should now assume a natural rounded shape. Without altering this natural curvature, raise the hand slightly from the wrist so that the finger-tips are now hovering about half an inch above the strings. Be careful not to raise the wrist in the process.
The plucking motion in a push-stroke can be reduced to four basic parts:
1. Position the finger that is going to pluck the string either over the string or on it in preparation. To do this, straighten the finger slightly and lower the hand, using the wrist as a fulcrum. Remember, these movements are very minute and are imperceptible in fast passages.
2. With a little pressure from the wrist, push the fingertip into the string, keeping the tip-joint firm but not locked. Notice that the pressure is exerted mainly from the wrist. This active use of the wrist is crucial to the stroke. At slower tempos, some bobbing motion in the wrist can result. Do not attempt to resist this motion or try to hold the wrist stiff. The tip joint should not collapse nor be totally rigid. There should be a little amount of give in the tip-joint as the finger pushes into the string. This amount of give will determine the loudness of the sound.
3. With a quick, small movement, release the string by plucking it inward (toward the palm). Take care not to have too much follow-through.
4. Almost simultaneously, move the finger up in a circular motion, repositioning it over the string.
The push-stroke has many advantages over the knuckle-stroke. First, there is great economy of movement because of the minimal follow-through in the finger-tips. Second, there is great consistency of tone because all the strokes originate from the wrist,. Many players believe that unequal strength in the three fingers is the cause of uneven tremolos and arpeggios. I feel strongly that the root cause of unevenness in playing is not due to inequality in finger strength but in trying to execute the strokes with three separate entities (the fingers). By originating all finger movements from one source (wrist weight), problems with unevenness will not arise. Third, there is great independence in the three fingers because of their upward returning motion as opposed to the arc-like motion of the knuckle stroke. This means that fast passages can be performed at loud dynamic levels and sustained for long durations with little fatigue.
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