Author: Philip Caron
Date: 2016-05-31 06:07
I recall the earlier posts about finger speed, and have pondered them ever since. Unfortunately, things can be true and unclear at the same time.
I've gradually (on my own) approached the belief that, in many contexts, finger speed ought to be fast, independent of whether the note sequence is fast or slow. That seems true for both fingers down and fingers up. As the OP notes, those are two different things - different, opposing muscles AND different neural connections. It's as though one ought to use speed equivalent to a fast trill even on other note sequences. This is not at all what some other and more experienced musicians have said, so . . . .
I remember thinking, when I started out playing again after several decades' hiatus, that I hoped one didn't need to practice dratted trills to become good. I now think those sort of exercises are indeed important, including not just trills but any common motions and sequences each individual finger must execute. The "barely moving fingers" is not (usually) necessary, but fast, smooth, easy movement often is. The opposition thing is vital, but one should seek control and accuracy without strain.
One reason finger down motion seems more natural than finger up motion is that the down direction comes with built-in hard stops - end points that don't change. The up positions may be more vague and variable. Another poster mentioned defined & practiced up (or "rest", a slightly confusing term) positions. About those, I don't know; they might be of value to some, but see YouTube for numerous examples of incredibly agile playing (not just clarinet) where the up or in-between positions are fairly, or even grossly, far flung.
BTW, tonguing also involves quick interaction of opposing muscles, and in many cases very quick tongue movements should be used even on slow notes. Different start / stop effects may be more in evidence with tonguing than with fingering, but the ability to move fast with control is very important still.
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