Slight tweaks to the main lifts squat, bench, deadlift , will cause you to make huge improvements to the lift in question. Some examples include: creating more range of motion, altering the tempo, or utilizing a different bar. Go narrower to improve wider. If you want to improve your back squat, consider doing a few training cycles of narrow stance high bar back squats. When you return to a lower bar, wider stance position, you will have great return.
If you want to improve the bench press, consider doing more bench sessions, or more sets within a bench session, with a narrower grip. Lastly, if you're a sumo style puller, work to bring up your conventional pull. If you already pull conventional, utilize snatch grip deadlifts. The set up for a snatch grip pull is generally a bit narrower, and forces you to drop the hips more so than the conventional deadlift.
Admittedly, I have a pretty weak grip. Granted, there are different qualities to grip strength, just as there are different strength qualities. My ability to resist the opening of my hand is pretty good; due mainly to many years of holding heavy stuff. A few in particular I brought up in this Installment The benefit to training finger extension is two-fold. First, doing so helps to keep the joints of the lower arm healthy.
If you are doing a lot of heavy lifting or playing sports that are grip intensive, you're spend a considerable amount time flexing the elbow, wrist, and fingers.
- Middle Eastern Belongings.
- Cowboy Easy [Blaecleah Brothers 1] (Siren Publishing Classic ManLove).
- The Importance of being a Red!.
- Mastery of Hand Strength by John Brookfield;
Simply doing some work in the opposite direction will create some much-needed balance. Second, improving your opening strength will improve your closing strength. Stronger and healthier is never a bad combination, so what are some exercises to train finger extension. What you do for conditioning should be in line with your training goals.
Many conditioning protocols are designed to more or less run people into the ground. If not that, then they are not really designed with any rhyme or reason at all, except to include a day of moving around that makes you sweat and generally hate life for 15—30min. While something of this nature may be productive for fat loss, or to fill an exercise quota in general fitness populations, it is actually taking away from your efforts the other 3—4 days per week.
Here are two easy ways to improve your conditioning days. Each is based on the concept of repeating quality outputs.
See a Problem?
In scenario 1, you will adjust rest to produce consistent outputs. This is pretty simple. Start to monitor what you get done, and then adjust rest to continually do the same or better. Jul 5, Los Angeles, CA. Hey everyone, I'll just get straight to the point. I want to talk left hand, specifically strength, hand shape, and tension issues.
Just to be clear, this is relating only to classical bass playing solo and orchestral.
Mastery of Hand Strength
I am just interested to know what people are doing in the way of exercises to strengthen the left hand and develop a traditional, "curved-finger" position. Also, I am curious as to how people are approaching it mentally I feel like I am always thinking about and over-thinking left hand shape when I play; it always seems to be my top priority when it very well may be cutting into my musicality, intonation, whatever.
Over the last year, I have gradually transitioned from always collapsing my fingers to trying to play with them curved as much as possible but as a result, it is all I can think about. My colleagues I am an undergraduate performance student in a respectable school and bass program have always praised my left hand technique and I do not believe it is my weakness- just more of a mental issue.
Please, share your input.
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Your comments are much appreciated. Jul 5, 2.
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Aug 3, Glasgow, Scotland. Hey j, Have you ever tried the exercise max's magic? This is really good for lefthand strengthening. If you search max dimoffs warm ups on your browser you will find this and other warm ups. Basst of luck , Basscat Jul 5, 3. Feb 22, Europe.
Jul 5, 4. Mar 28, Washington DC. Jul 5, 5. Oct 9, Cartersville, Georgia. There is an article by Donovan Stokes in No Treble this month that targets left hand dexterity. It just takes practice.
Jul 7, 6. Aug 31, Sydney Australia. I looked up the above Stokes website and saw the exercises in one position that are similar to my warm-ups for the LH. Play them with separate or slurred bows. This should create 36 little warm up exercises. Observe carefully shaped fingers that land crisply on notes. To intesify the dropping of fingers try double-dotting the slurred hook strokes.
Every finger gets a work out. This not only polishes the technique of shifting but also the timing and coordination between hands. I do these as part of my warm up, probably after some long slow bows for tone and vibrato,etc and note starts and stops all over the hair length, but before intense bow stroke practice and scales. This is the part of my practice where I concentrate most on technique, including core LH issues like maintaining arched fingers.
After this warm up I feel ready to do some serious work. For the! Position exercises in No. Raise and lower your arched fingers by flapping from your big knuckles not bending and straightening your fingers and using your forearm muscles for strength and speed.
Keep good alignment of hand and fingers with your forearm, and minimise wrist pronation - experiment with the height of your left elbow and its effect on the arching of your fingers. Experiment with using only enough strength to create clearly articulated notes. I was taught to rest the weight of my arms on the piano keyboard through my arched fingers then transfer the constant weight from finger to finger as each rose and fell in turn.
I worked out that I could use the same constant weight idea for dancing clearly in EX. The fingers stiffen a little and do a low, almost crushed-feeling dance on the string as the speed gets faster.
It may not be considered good LH technique by purists however each individual finger rises and falls independently and comes to life, rather than the index finger be stuck down on the string all the time. My LH will articulate clearly as fast as I can play these patterns. Slurring clearly up and down the strings at speed remains a challenge!!!
The only other exercises I occasionally use for LH strengthening are 1 squeeze my entire hand around a soft foam stress ball towards the centre in sets of 10, not letting any finger collapse or be lazy , and 2 hooking the end of each finger over my right thumb so that the finger can bend and straighten against a controlled pressure. This is to strengthen and help maintain the arch as distinct from raising and lowering the finger while keeping its arched shape.
Jul 7, 7. Sep 9, Jul 7, 8. Les Fret, you might notice that I have asked for tips about fast slurring from colleagues in the Double Bass Pedagogy forum and from Patrick Neher without too much success. I confess that clear articulation of fast slurred passages like three octave scales and arpeggios is a weakness that I should work hard on.https://volunteerparks.org/wp-content/jelyvuxys/3209.php
Wrist Curls with Plate
Do you mean even rhythm across strings in thumb position in passages like Bars 21 - 24, or Bars 28 - 30, of the first movement of the Dragonetti Concerto? I suggest that you try repeating the exercises in my post above that I called No. Position and No. Position and 3rd. Position but one octave higher in basic Thumb Position until you have control over the rhythmic rise and fall of your fingers and can articulate clearly on one string.
Then match bow speed, length and placement to the speed your left hand is working so there is a feeling of balance between the hands. First at slow speeds invent simple exercises that practice controlling slurred string crossings in both directions. Move the bow in an arc that, with good timing and coordination, will pass it from string to string smoothly because it is always preparing for leading towards the next crossing.
Try using a metronome and gradually get faster while maintaining good rhythm and clear articulation. I should follow my own advice here!!! The Dragonetti is one concerto that I would like to play well, if possible better than my students for whom I am trying to be the best first teacher.