#1
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Flexibility of joint of finger nearest fingernail.
Something a lot of advanced fingerstyle players seem to share is a flexibility of the joint nearest the nail of the finger. That is they can place the tip of a finger on the fretboard and bend that joint at a ninety degree angle.
It's not a practice thing, my joints have very little movement here, I just can't do it. Subsequently I have to look at workarounds for songs such as Tommy Emmanuel's Angelina and Lewis and Clark. I've sometimes thought about tackling some of Kent Nishimura's stuff, but noticed that he seems to have this ability of joint movement in all his fretting fingers. The songs are probably difficult enough in the first place but I think a workaround here would be virtually impossible. Just interested how many players can do this with fluency and how many, like me, have to use workarounds. |
#2
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Never seen anything close to that. I can flex it to about 45 degrees but never would even close to that while playing guitar. So don't "fret"
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#3
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Quote:
Perhaps there something I'm not understanding… |
#4
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I haven’t seen anyone bent the distal joint of their finger backwards 90 degrees. That is anatomically very unnatural and would likely lead to stability problems. It doesn’t mean there aren’t some loose jointed people who can do that, but please don’t try to achieve it through any force, you would only damage yourself, and don’t expect that as an eventual ability either.
I have seen people (Justin of Justin guitar, for example) who do have some flexibility and can bend that farthest joint on their fingers back enough to fret two or three strings while leaving the highest string or two under the finger open. Nowhere near 90 degrees, maybe 30 degrees max, but enough that they have an easier time doing that than I do. For example, they could play a two finger A shape barre cord and choose to let the highest string sound out or choose not to. If I play that cord with two fingers I can only mute the high string and even that is not easy (yet) because I tend to actually fret it and it is the wrong note. |
#5
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I can play, e.g.
A using one finger in the second fret (index or pointer), and the bottom string is still open/clear if I want it to ring. Barre A shape using one finger (pointer) and the bottom string is still open/clear if I want it to ring. In open D, Em using one finger in the second fret and the bottom three strings are open/clear. It involves what I would consider decent mobility in that joint, but not 90 degrees flex. It also needs a good level of dexterity but at the same time I am not at all an advanced fingerstylist. The technique itself just has to be practised - it is indeed very useful - and all elements are important including thumb position.
__________________
McNally Custom Dread Adi/Hog, McNally Custom OM Cedar/Walnut 000-28 Lowden S32J Guild F-512e (Spruce/Rosewood) |
#6
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OK, ninety degrees is perhaps overdoing it. However with the Tommy Emmanuel songs I gave as examples he is able to fret one string with the tip of his index finger and then bend that joint rapidly up and down to alternate between playing an open and then fretted note on the next highest string. This is something I just can't get my fingers to do.
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#7
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Quote:
__________________
"Life is what happens when you're busy making other plans."-John Lennon 2015 Taylor 512ce 12 fret early 80's Ovation Ultra 1517 2011 Seagull Entourage Rustic 2011 Taylor Limited NS214ce 2010 Taylor 512c 2016 Ibanez AG75 2014 Taylor GS Mini Koa e 2018 Loar LH 301t 1998 Breedlove Fall Limited # 10 of 20 Redwood/Walnut |
#8
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Quote:
lower string which gives you a little more distance to clear the next higher string.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#9
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Quote:
__________________
McNally Custom Dread Adi/Hog, McNally Custom OM Cedar/Walnut 000-28 Lowden S32J Guild F-512e (Spruce/Rosewood) |
#10
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Oh, I have practised a lot over the years with no improvement. I genuinely believe that some people are fortunate enough to have more give in this joint than others.
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