Warm, warmer, fit!
It only needs small things to get the hands and fingers fit. Depending on your needs, you can also use it here to support your instrumental skills.
Already with 2 balls, the hands can be warmed up effectively before each game. To do this, place 2 or more balls on the palm of the hand. Through finger activity, let the balls circle on the palm of the hand so that they do not touch each other. To do this, you should decide beforehand in which direction they should rotate, clockwise or anticlockwise.
In the beginning, it is recommended to keep the hand close over the bottom (carpet if necessary) so that the balls, when they fall down, only cover a short distance. In the next step you can change the direction and try to increase the distance between the balls. Furthermore, it is recommended to train both hands and both directions of rotation right from the beginning. With a little practice, this becomes more and more successful. A nice improvement for experienced players is to train balls in both hands at the same time and in opposite directions.
Find your size! Chose the smaller balls if you are unsure. As a benchmark: 25 mm balls are suitable for children and 30 mm balls in diameter for jung adolescents. For adults with a normal hand size 40 mm balls are suitable and 45 mm balls are suitable for strings hands . We generally recommend using stainless steel balls. They tend to be a little heavier and put better pressure on the palm of your hand.
Finger massage rings
The finger massage rings are particularly suitable for people making music who need their fingers to be loose, well supplied with blood and flexible. After a short and correct use, the fingers feel looser and warmer and the sound becomes a softer component.
Many players also describe that their fingers can become faster after using the ring and thus increase their tempo of playing. This is, why we use the rings. Greatest advantages:
Increases the speed of the fingers in a relaxed manner (e.g. scales, arpeggios)
- Improving trills and ornaments: The speed of the trills increases, the player tenses less, the decorations become more even and supple. You can achieve this if you combine the finger massage directly with trill exercises, for example, if you always alternate the trill exercises and the use of the ring.
The rings also help with signs of fatigue, regardless of age and playing experience. But not every ring is like the next. There are big differences in them, from soft to hard. Everyone should decide for themselves which ring they can use best to get the appropriate effect.
Once the ring is on your finger, it should always be in motion to ensure blood flow. To do this, one should simply move the ring over the entire length of the finger, slowly or quickly. The speed results from what is comfortable for you.
Consider all phalanges/fingers
One likes to forget the last phalanx at the top of the fingernail.
Store and repair
Correct use also includes neatly storing the ring. It perfectly fits in all instrumental cases. Concert players also like to have one in their pocket so that they can use it at every opportunity.
Some rings have a clasp with which the inner radius can be changed slightly. Before a ring is declared broken, it is worth checking whether the closure can be resealed. The best thing to do is to try and see if you can twist the two ends back together. However, rings are difficult to repair if they have been stretched too far under the influence of force.
Impression from a teaching situation: Liza should increase the pace on a scale. She was given a ring that she tried out right away. She: "The fingers are so fast that I can no longer control them!" One week later: “Yes, I can control it. I just had to get used to the new speed first!"