Author: Philip Caron
Date: 2016-02-01 07:55
I use my own. Examples follow. Let "*" stand for "pivot note". NOTE - if fingers or hand start to hurt, rest or slow down. I suspect pushing these too hard before the muscles are trained could cause an RSI.
R. PINKY. Start on middle B (or low E). Clarion intended, but low register works equally.
* = clarion D
play B*C*B*C#* B*C*B*C#* B*D#*B*D#*B*D#*B*D#*
repeat with * = E, again with * = F, F#, G, G#, A, A#(r. index), B
The above works the pinky alone and also coordinated with adjacent fingers, etc. Note B is sort of a secondary pivot; the other 3 r.pinky notes can be used instead, but B seems the hardest.
L. PINKY. Main notes include B, C, C#. Pick a sequence of those. Play alternating the sequence notes with *, twice. Pick another sequence with a different middle note than the first sequence. Play alternating sequence notes with *, twice. Again with another sequence, the middle note being different than in the first two sequences (last unused choice of the three main notes.) Play alternating again, twice.
Repeat with * = B (r. pinky), C (r. pinky), C# (r. pinky), D, D#, E, F, F#, G, G# (forked), A, A#, B.
Work up clean speed.
L. PINKY G# key - if you've tried the above, you must have the idea. Work the target finger in coordination with adjacent and/or opposite fingers, in a systematic repeating pattern.
BOTH PINKYS. Play any sequence with L pinky alternating with any sequence of R. pinky. Example, circle cw with l. pinky (BC#C), circle ccw with r. pinky (D#CBC#), alternating sides. Interesting 12-note patterns result, almost jazzy. Can also insert pivot notes as desired for coordinating with adjacent fingers.
Another idea is alternating sides thus:
B(l)B(r) four times, C(l)C(r) four times, C#(l)C#(r) four times, G#D# (four times). Repeat leading with right side. Should not have any blips between same pitch changes.
I do some or all of the above as part of finger warmup, only takes a few minutes; sometimes break crossing follows (applying pivot note idea again.)
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