The Clarinet BBoard

The Clarinet BBoard The C4 standard

New Topic | Go to Top | Go to Topic | Search | Help/Rules | Smileys/Notes | Log In

Previous Message | Next Message

RE: Thumbrest, right hand and pain

Author: Ken
Date: 2001-09-02 18:38

Custom, adjustable thumb rest cushion:
http://www.woodwindbrasswind.com/product.jsp?node=45536

As far as right thumb, hand and finger position this is a bit of a lengthy and complicated if not confusing discussion and major �geek talk� but I've found it helpful, practical and results getting with a minimum effort. From my best recollection and street terminology this is what Dr. Marcellus taught me years ago concerning correct right thumb/hand and finger position. Natural hand shape and finger size dictates method and application. Solid fundamentals in correct hand position and building lightening technique has to do with developing a "natural" hand position combined with minimal �physical� exertion and movement.

Try this, sit or stand in your normal playing position, hold the horn in your left hand at the base of the top joint. Bend your right arm upwards at the elbow 90 degrees. From the wrist to your fingertips, let them hang completely limp. Next, give it five or six good deliberate shakes to get all the kinks and stiffness out. Your right hand shaken out it should be naturally somewhat shaped in a squashed backwards C. Moving just the fingertips at the first and second knuckles slowly bend them slightly inward duplicating playing position, again release any remaining hand tension, wrist and arm. You should notice your fingers should have stayed where you moved them. Keeping the hand perfectly still, rotate your hand parallel to the right so your thumb is at a 45-degree angle (you want to approach the thumb rest at that angle and not right to left). With your left hand guide the lower joint INTO your right hand and playing position like you�re slipping on a glove. Balance and rest the right thumb under the thumb rest at its most top and outside left corner but squarely on the knuckle so you could make a "thumb print" on the bore (if you already have calluses all the better). With your left hand, begin shifting and supporting the weight of the horn slowly to your right hand until you achieve a comfortable "right in the pocket" feel. Still, not disturbing the hand and fingertip position you established deliberately and slowly position your middle three fingers resting them slightly on top of the ring keys, rest your right pinkie between the Ab/Eb and F/C right lower cluster keys not on top of one or the other.

Basic exercises, working the right hand only, slowly (quarter=50) slur a 5th of an F major scale starting on low F natural to C natural and back down. Repeat X10. Concentrate on keeping your "whole" right side, shoulder to second knuckles perfectly motionless but applying any physical movement to the ends of your fingers (be sure to raise your fingertips high enough not to flatten pitch). Test yourself to see how much unnecessary movement you've eliminated. Pull out your trusty embouchure mirror and align it to where you can observe the effect. (bare armed). Try playing the way you normally do then re-set and try the new way; if you have excess movement you'll see a big difference. Before, maybe your top knuckles, hand, wrist, forearm or even pectorals and triceps were jiggling and tense, especially your tendons near the elbow. When you�re comfortable with that try playing chromatically from low F# to C using both middle and forked fingerings. Train/strengthen that pinkie with right side lower cluster key tremolos, low E to G to F to G to F# to G to Ab to G�devise patterns, clockwise, counter clockwise and in an X.

The 45-degree angle thumb position has a number of good benefits. It aids in decreasing finger, hand and wrist tension, forces the fingers closer to the keys, promotes fluidity, speed and accuracy covering tone holes. It also facilitates more even weight distribution on the thumb and eases stress and "hot spots" over prolonged use.

The whole idea is to decrease "physical movement" and focus it down, as far to the ends of your fingertips as possible, that's where the real technique lives. Tension creates more tension, restricts movement and produces in our muscles. A chain reaction that eventually extends up through your hand to your wrist, arm elbow even to your shoulder blade. The more the movement the quicker tendons fatigue, begin to break down and lose elasticity. Over time, this approach also influences other negative physical gyrations; conserve energy and cuts down on swaying, bouncing, even dancing, etc. Give it a whirl.

Reply To Message | Avail. Forums | Flat View

Newer Topic | Older Topic

Topics