A question for kurt(of anybody who knows) regarding Van Eps' Mechanisms

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  1. JFB

    I've heard you say on different occasions that you've worked a lot with those books.
    Did you use his fingerings as well? how important do you think they are ?
    Cheers, JFB

  2. ( clearly coming from the parenthetical 'anybody' contingent ):
    I found it useful to go through the suggested fingerings as they are awkward and can give new ideas but for issues of speed or context they may prove to be difficult ( if not not that useful - unless you devote a huge chunk of your time to getting with his physical ballet ). And some of those 10ths exercises I don't see why he changes the fingerings ( for different strings ) when the sting groupings and placement of shifts is the same even for a new key ... This seems as if to allude to some meta position to keep certain fingers for thereby certain fingerings as to optimize an alleged economy throughout the neck. What is cool to try to get under your fingers is the picking hand fingering : in successive chords on a same string set , say: 10 this on the 6th &3rd strings you would alternate between p/m and i/a; to get a consistent timbre you may need to pivot your wrist or examine your nails ... Or maybe you dig the difference. It feels weird at first but then you get this galloping effect and that will be useful and makes sense for speed. I kept a photocopy of the string set chart as a bookmark until it made sense. There was too much going on at once. Sometimes the book (s) would drain me and I decided it wasn't good to attempt to check things out late at night as I would just feel stupid going beyond a couple bars ( especially the satellite concept stuff in I believe volume 3 )... Ultimately , I decided to check out what he advised as for the mechanics but pick and choose if I was going to integrate that- the main nuggets were the actual HARMONIC ideas being conveyed .

    Magical rainbow ponies



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