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slackkeymike
Lokahi
440 Posts |
 Posted - 07/11/2006 : 05:20:54 AM
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Ok, got a fingering (left hand) question. There are two places in Mark Hansons book that I have a problem with Punahele. This involves a doublet followed immediately by a triplet (b string, then high d string). This occurs first on the 5th fret, and later on the second fret. I am never quite sure how to do this, mainly because it never seems to sound right to me. Should I do this with two fingers or one? Should I hold or deaden the doublet before the triplet? Anybody else ever wondered about this?
Mike
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Aloha, Mike |
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Peter Medeiros
`Olu`olu
546 Posts |
Posted - 07/11/2006 : 09:34:16 AM
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Hi Mike,
Both approaches are okay when you are playing through this type of kinetic pattern. The main thing is to be consistent through the series of patterns. These licks are syncopated through the I and V7 chord progression and are characteristic of G wahine and taropatch tunes from the ragtime era, you will hear it on banjo licks.
From the point of view of economizing movement, it is the two-finger approach, which is most efficient -- where the palm is kept near parallel to the fretboard and the fingers being already in position are simply placed on the appropriate note. Use your ring finger on string one and middle finger on string two.
With the one finger approach there is additional movement, where the wrist has to turn in order to accommodate movement from either string and then the finger has to be placed on the appropriate note. Use your middle finger on both strings.
As for letting the final note sustain it is simply a matter of preference and clean execution. I would just let them both sustain and not worry about it.
PM
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Edited by - Peter Medeiros on 07/11/2006 09:36:01 AM |
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slackkeymike
Lokahi
440 Posts |
Posted - 07/11/2006 : 2:08:05 PM
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Nice answer! I see you get what I am talking about. And you are correct about getting the right syncopation...otherwise it makes no sense at all. I guess the problem with the notation is that it does not show a sustain on the doublet, and the single finger aproach can turn the doublet into a triplet. So I am going to work on the two finger aproach, with a little lift on the doublet to deaden it.
I think I read more in here about tiplets than any other note issue (ok, chimes too). But combining a doublet and a triplet is the toughest one yet... by that, I mean to get it to sound correct.
Thanks,
Mike |
Aloha, Mike |
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