PDF Left Hand Passage Playing

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The HS method will balance the hands because you will automatically give the weaker hand more work. For passages that one hand can play better than the.
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At the beginning of the lesson I confessed that with fast pieces like the Wieniawski I expected myself to fail, but with unerring patience Burton Kaplan showed me how to work on tidying it up, using rhythms and a metronome. This was not particularly original in itself, but the specifics were more detailed and systematic, and the emphasis was on maintaining the musical content and sound, and a consistent bow, even under tempo.

After a couple of days of doing this, my fingers were zinging away on the fingerboard. Avoid all exaggerated, and especially all superfluous movements of the fingers.


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This rule must be specified into two laws supplementing each other if we wish speedily to obtain certainty of intonation, independence of action, strength and endurance: a No finger should leave the string unless obliged to do so; b Wherever and whenever a finger can take its place, before the bow has to play its tone, it should do so. Now, how to practise to be more relaxed? Certainly not by repeating the passage over and over again, hundreds of times, in every possible way.

Rather, by distracting our mind exactly in the instant of execution. In doing this you are forced to concentrate on the circle your head is drawing instead of worrying about the passage you are about to play. The result is very often astonishing — you just may have played your most hated passage perfectly and with great ease!

The next step is to succeed in the same way on stage.

There I suggest you do the same — but this time make it look natural and beautiful and with an inner smile! The Russian cellist Daniil Shafran was totally unconscious of the cello. I saw him in rehearsal playing the most devilishly difficult music and talking at the same time! He said his arm was getting tired, and I assumed he was talking about the bow arm.

But actually it was the left arm that was getting fatigued! You probably know already that extra tension in your playing can hurt you over time. So give this practice technique a try, and see if you have any extra left-hand tension that you can shed! You can put this technique to use on any passage, and it only takes a minute. Give it a try and let me know how it works for you in the comments! Nate, I am a recent subscriber to your blog. I am a professional violinist and am in the 1st violin section of the Kennedy Center Opera House Orchestra.

This is my 40th year, having started at age 40!

Jack Sanders - Left Hand Technique (1994 John Gilbert)

Does that tell you something? I am finding your information absolutely fascinating and an answer to my struggle to keep learning. Obviously, I am doing something right to be playing professionally at my age, but aside from that, you address many issues that are prevalent in someone who is aging and still trying to play at a high level.

Also, I need variety in my practice, as I have been at it for a very long time and want to stay fresh and engaged in what I do.

Reader Interactions

Thank you so much for all that you take the time to give to those of us who still need it put are, perhaps, too old to be studying actively with someone else. Great tips, Nathan! Not really… at least never more than necessary. Basically, the thicker strings take more pressure than the thinner ones to stop, so loud G string passages will need more. I think that speed is often confused with pressure.

But just like the pianists, we want that great speed but only driving down as far as necessary—not into the key frame, so to speak. Do finger speed and finger pressure have different roles though? But in contrast, finger pressure is what you actually need to have a pure sound for each note. So speed clears up the beginnings and ends of notes, like passing of a baton between them, while pressure clears up the actual notes. But speed always works with pressure so that if the passing between notes feels clear and easy, the pressure we release for each note is lighter and closer to the MVP.

Is this an accurate way of thinking of it? Thanks so much for these videos and articles!!


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    • So this exercise is meant to break that habit and build awareness. For many teachers, if you get the notes, finger height is not really an issue. The more advanced you become as a clarinet player, the faster you will need to play. While you are aiming for a gorgeous tone throughout your clarinet, remember the transitions between notes and registers need to sound fluid and not bumpy. Yet here again, this is where technique meets musicality and vice versa. What is the use of making an expressive phrase if the technique is bumpy?

    Rid yourself of damaging left hand tension: find your MVP

    If you play a fast passage and it's messy, is it musical? Clarinet Left Hand Position Thought 6. Hug the G and A keys at all times and watch left hand angle to the clarinet. See instructions under photos Always keep your finger touching these keys not depressing the keys, of course unless you need the A or G tones. If you keep your hand always touching these keys, you have immediate access to them and therefore improving your throat tone technique.

    Go get your Clarinet, Now! When playing these two notes, is your left wrist rotating? Are you moving your entire hand or arm? If you are, it is time for you to think about making this easier and more efficient for yourself. Every little tip you gain from Clarinet-Now , any other website, live teachers, live master classes, recordings, anywhere, is another tip to make you better. Making your fingers efficient allows a cleaner, quicker clarinet technique and the fluid sound you develop makes better music.

    Watch the following video of Jacques Lancelot playing a movement of the Brahms Quintet.

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    Take a good look at his clarinet left hand position as he does not move the wrist throughout the movement. The Master keeps his wrist steady, plays knuckles down, and sounds beautiful and smooth. This is our goal. What a model for us? Set goals.

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    Put a mirror on your stand and test your clarinet left hand position. Start slowly. Breaking bad habits can be very hard at first, but eventually the control you have is worth all of the effort. The rotation of your wrist is probably caused by the improper angle of your left wrist. If you look in a mirror, is your left hand holding the clarinet at a 90 degree angle?

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    If so, consider raising the wrist upwardly towards the mouthpiece or sky, if you wish. Basically, hold down the G key and only move the tip of the index finger to operate the A key. Get used to this and then start trying a few more exercises like:. As you practice your scales, music, band or orchestra parts or solos, do your best to keep a proper left hand position at all times. Do this whether you are fingering the throat tone notes or not.

    Always have that left index finger touching or as I often say, hugging the A and G keys.