Finger Dexterity

[Karen Sarkisian]

Hey everyone. It seems Ive lost quite a bit of finger dexterity since the pandemic, probably from lack of playing but also maybe due to my age (now 60 ugh). Ive been working on PF's permutations every day for a couple of months now but not finding a huge improvement tbh. Every day it feels like Im starting from scratch again. I also have a slight tremor in my hands, likely due to coffee but im not giving that up! Would love peoples thoughts on this. I really want to get this pick blocking down but am really only about 100bpm to get them all consistently. once ive practiced for an hour or so i can get up to 115 or 120 buy most days I start at 80 or 90. Is there any hope at my age? would love some suggestions on finger exercises or something to get more control of my fingers individually. I also noticed it when typing on keyboards, I hit a lot of incorrect keys while trying to control my fingers. I feel like I have some neurological illness or something. hopefully not! thanks in advance for your input on this

[Joe Krumel]

Hi Karen. I'm 71 and notice the same kind of symptoms. My approach has been to just enjoy whatever I can still do and not compare myself to others skill levels.It ain't easy because I want to be so much farther along! But even small steps on this Beautiful instrument are something I celebrate. Wishing you the Best.

[Karen Sarkisian]

thanks Joe

[Dave Campbell]

i worked on the permutations from 80 going up and didn't find much improvement. then i slowed down to 50 and 60bpm and went up from there and it made a big improvement.

[Dale Rottacker]

At 67 I've been bone on bone at the base of both of my thumbs which has had it's own challenges. I also think that with age that the message from brain to fingers can have a hiccup or several, and having never developed good muscle memory to begin with, don't have that to fall back on to the degree I'd like.

Like you, I'm much more comfortable in the 80-90 bbm range. ALL that said, I'm playing faster than I ever have, though consistancy for me I think will always be a struggle. And yet played WAVE at 137 bbm, which was BLAZING fast for me and not perfect, but for me evidence that speed is there, with lots of practice, repetition and working myself up to it. For me I think that finding patterns/permutations that "FIT" my dexterity improves my speed in general. I'll never start a fire with my speed, but sparks and an occasional burst encourages me and shows me that even at 67 I'm able to improve. (So don't give up on it, Karen) there are goals there that are still attainable.

[Karen Sarkisian]

i worked on the permutations from 80 going up and didn't find much improvement. then i slowed down to 50 and 60bpm and went up from there and it made a big improvement.

Interesting will try

[Lee Baucum]

...likely due to coffee but im not giving that up!

Amen!!

Besides, you would then have to deal with headaches!

[Karen Sarkisian]

...likely due to coffee but im not giving that up!

Amen!!

Besides, you would then have to deal with headaches!

ya theres no way, i live for coffee

[Dale Foreman]

Yeah Karen, we all go through this. I’m 70 and not nearly as fast as I used to be but it is what it is. I sometimes sit for hours just working on the right hand.

[Thornton Lewis]

I like the Joe Wright right hand stuff more for developing speed and independence. You can get it free on line. I prefer it because it makes you work two fingers vs one a lot and that builds independence and blocking. The Paul stuff I try to use the way he describes it as "melodic shapes." It makes you more concious of the beginning and ending notes and the various ways to connect them. A brain twister for me on the top chromatic strings.

[Bobby D. Jones]

I got message, The gig I filled in on some last summer is opening Saturday night, Their band steel player is having problems with his right hand and middle finger. I haven't played a gig since October. Just set around and wood shedded a lot.

Hope the stage rust is not to bad. I turned 80 last October.

[Mike Neer]

If you are going to practice permutations and picking patterns, do so with rhythm and accents; in other words, make it musical. There is nothing worse than just running dry finger picking exercises. I don’t think they stick that well. You’ve got to add some dynamics and melodic content. The brain needs something to latch onto.

[Dan Kelly]

To Mike's point, Johan Jansen came up with a very helpful backing track for the permutations. I can't find it! However, if you PM Johan, I can imagine that he would send it to ya.

I spend more time LOOKING for music on my computer than I do PLAYING the music! This must be another "welcomed" effect of advanced maturity!

[Larry Hobson]

Interesting thread, I'm with you on the "coffee " but would someone ask what is Permutations ? I don't want to appear stupid. Guess I could look it up.

[Dan Kelly]

Hey Larry,

"THE Permutations" is an exercise developed by Paul Franklin for promoting finger dexterity. To say the least, it is a challenge to memorize but it is a great warm up and worth the effort, IMHO.

[Jim Robbins]

Hi Karen,
I've got a similar problem with tremors (and related numbness in my feet, doesn't do my pedaling any good), and I don't drink coffee. Rolls, lots of rolls, starting with any finger, including any grips you tend to use; and drilling any tough passages at very slow speeds and then at tempo. I read recently that rolling or shrugging your shoulders can help, something to do with nerve transmission to the hands, but I can't find the site where I read it. It does seem to help when the tremors are really bad. It may look a little weird on stage, though.

Tremors can be a sign of an underlying physiological condition so you may want to check that out.

60! I was 60 once.

Good luck.

[Donny Hinson]

What many refer to as “pick blocking” is not a single technique, but rather a combination of many different blocking techniques using the picks, as well as various parts of the hands and fingers. Depending on which strings and which order they are played determines which technique is used, and your own physiology also comes into play. For best results, what you actually need to do is to determine which technique or combination of techniques works best for a certain series of notes, and this will often vary from player to player. I’m fairly good at blocking just using the picks, but rarely will I use only that technique to play certain phrases. You have to use what works best for you, and that will usually mean you block in the most effective and economical (movement-wise) way in order to increase your speed. For me, it always means using the picks, the palm edge, the knuckles, and side of my pinky and ring finger.

Hope this helps.

[Dave Magram]

Adding to what Donny Hinson wrote above, here's how Paul Franklin explains his “Fingertip Blocking” technique.

Paul Franklin, Feb 19, 2018

I was 17 when I moved to Nashville. The great Hal Rugg named my blocking technique for controlling the length of notes “Pick Blocking” because I do use the picks a lot for muting. Although that name has stuck, it’s not the best description of what is actually going on. The term “pick blocking” suggests blocking solely with the picks, a better name would be “Fingertip Blocking”.

To prevent confusion and frustration, I urge players working on their blocking to stop trying to visualize ‘blocking with your picks” in order to reconcile what “Pick Blocking” implies. Pick blockers interested in accomplishing this technique need to know that it requires you to “web” the pinky and ring fingers to the middle finger at all times.

Experiment and find your own fingerings using this hand position. Everyone has different physical attributes, so there is no definite “one way” to finger a scale or phrase when using Fingertip Blocking.

UPDATE: This is my reply to a comment, it belongs here in the post, so I added it. – Paul

I would guess about a third of what I play is blocked by the actual pick itself, mostly with forward and backward roll choices. When picking descending lines moving across the ten strings I use the fronts of the “webbed” fingers (see video below) to accomplish the mute. I would guess about a third of my blocking is accomplished using those fingers.

For the ascending lines across ten strings, the backside of the thumb blocks the remaining third in the same fashion. After the thumb picks, for example, the 8th string and then my index finger picks the 6th string, the thumb moves into the position to strike the 7th string allowing me to block the 8th string using the backside of the thumb itself, not the pick. This is done before the index strikes the 6th string...

The rest of Paul's post, along with two explanatory videos, can be found at: https://www.paulfranklinmethod.com/post ... g-blocking

- Dave

[Karen Sarkisian]

Thanks everybody for all the replies.

[Tom Spaulding]

From the "Intro to Permutations" video: "It's not important how fast you practice them, it's more important that every string gets blocked". As Paul has noted, speed/dexterity is a result of slow and perfect practice.

It would also be great if you posted your great question on the PFM Facebook Group so Paul can perhaps add some insight for you and all the other students. Thanks!

[Dave Grafe]

Yeah Karen, we all go through this. I’m 70 and not nearly as fast as I used to be but it is what it is. I sometimes sit for hours just working on the right hand.

What Dale said!

My goofy-wah nervous system has always led me to unintended musical phrases, some folks think I have unique ideas but it's just me brain adapting to me fingers going sideways on me ears. That said at 70 I have to work hard to stay almost as quick as I was effortlessly at 30, although I can do a lot more in other ways. The inevitable effects of aging, but it sure beats the alternative.

[Roger Rettig]

I agree with Mike Neer.

I sometimes practice patterns somewhat aimlessly, mistakenly believing that I'm reinforcing something useful.

Then I'll do the same with (at the very least) a metronome or a specific CD track.

I soon get 'found out'!

To Dale's point, I have pondered the diminishing skills in my armory; I once attributed it to age (I'm 81) but, in reality, I believe it's more for the lack of the discipline I required when I played for my living.

A metronome is fine, but you can't beat an ensemble of good players around you to bring out your best.

[Karen Sarkisian]

From the "Intro to Permutations" video: "It's not important how fast you practice them, it's more important that every string gets blocked". As Paul has noted, speed/dexterity is a result of slow and perfect practice.

It would also be great if you posted your great question on the PFM Facebook Group so Paul can perhaps add some insight for you and all the other students. Thanks!

[Donny Hinson]

I asked Reece once about practicing for speed, and he told me to just practice for accuracy, and that the speed would come naturally. When you can play something perfectly, without even thinking about it, the speed comes automatically, almost like a reflex action:

https://www.youtube.com/watch?v=w6pjiMk14w0

[Karen Sarkisian]

Thanks Donny, this is the direction I am currently taking. Trying to get them all perfect at 80bpm. I am noticing some progress doing the exercises every day