|
Post by Charlie Huang on Aug 6, 2009 8:34:44 GMT
The point of contact should be the joint closest to the tip of your ring finger, not dead on but at the side.
|
|
|
Post by guzhenglover on Aug 9, 2009 1:24:32 GMT
The point of contact should be the joint closest to the tip of your ring finger, not dead on but at the side. Thanks Charlie. I can manage to produce a sound now - just barely - but my teacher tells me to observe the hand shape and make sure that it too looks nice. That's a difficult ask! I don't seem to be able to "expose" that joint on the ring finger as well as she - don't know if it's because of my finger "fat" - but if I have the hand shape any other way then, it appears that the ring finger where the joint is just smoothes out and isn't "boney" enough to execute the technique. Any more suggestion, Charlie, or anyone else on this forum? Would anyone who's acquainted with this technique care to share the technique with us by providing a photo or a picture? Many thanks - Guzhenglover
|
|
|
Post by Charlie Huang on Aug 9, 2009 9:55:35 GMT
|
|
|
Post by guzhenglover on Aug 10, 2009 5:50:26 GMT
Thanks Charlie. Somehow I don't think that doing a daiqi on guizhi is an exact reverse of guizhi itself, though. I can easily do guizhi now, but daiqi on guizhi seems to use a slightly different angle or position something. When I do guizhi, I can adjust my hand position so that it doesn't look awkward but, when I do daiqi on guizhi, I can't seem to do it without compromising the hand shape - I seem to have to bend the ring finger more, tilt the entire hand more to the LH side and bend the wrist more in order to make a sound. I am otherwise unable to get enough of a grip using the exact guizhi technique as the ring finger joint just doesn't seem to protrude enough, if you know what I mean... Can you or someone help (esp. those who've played PAZ before)? BTW, though people may say that PAZ is an easier piece compared to MHSN or YQWD, personally I find the daiqi on guizhi in PAZ one of the hardest techniques on the guqin, thus making PAZ harder than some other pieces like i've just mentioned. I guess, though, there are bound to be people in this forum who would disagree...?
|
|
|
Post by charliecharlieecho on Aug 10, 2009 14:08:06 GMT
I think we need a hierarchy of values here: which is more important, the sound or the look? The balance may differ from person to person, but for most people (i.e. other than professional performers playing for pernickety audiences) I'd say get the music right and then think about the shape of the hand.
|
|
|
Post by guzhenglover on Aug 10, 2009 15:18:43 GMT
I think we need a hierarchy of values here: which is more important, the sound or the look? The balance may differ from person to person, but for most people (i.e. other than professional performers playing for pernickety audiences) I'd say get the music right and then think about the shape of the hand. Thanks, it's good to hear from you! Do you have any personal experience tackling this technique? Or have you never found this to be a problem?
|
|
|
Post by charliecharlieecho on Aug 25, 2009 9:48:01 GMT
I have some experience of this, but not recent, as the pieces I play most now don't require this combination of techniques. The first thing to remember is that when we do the guizhi + qiaqi the left hand is in a cramped position and there's not much we can do about it except grit our teeth and hope that one day it won't be quite so painful.
That said I found that the only way (for me) to get a sound from the string is to turn the index finger anti-clockwise for however far it takes for me to get my thumb into position. It's definitely not elegant, and I imagine the sticklers would look askance at it, but so what? I play for my own pleasure, and if other people don't like the results, that is their problem.
|
|
|
Post by Si on Nov 1, 2011 15:59:27 GMT
These old posts are very useful now im relearning SRC. Wish more ppl had posted there problems.......
|
|