Left-hand pizzicato with the ResoundingFingerboard

If you are an ResoundingFingerboard user: there are 3 benefits if you practice left-hand pizzicato exercises with the fingerboard attachment. 

Left-hand pizzicato with the Resounding Fingerboard
Two anchor fingers are placed on a nodule each, the bow plays an open string

1. Relaxation of the anchor fingers

The use of the anchor fingers when practising in one position gives orientation, among other things, as to how the fingers are positioned in relation to each other. If I pluck, for example, two strings with two fingers and have an anchor finger on another string, the two plucking fingers always move in relation to the standing finger. If I now place the anchor finger(s) on the nodule(s) of the fingerboard attachment, it begins to relax. As a player, the most noticeable thing is that you need much less finger pressure. When players describe what they do "differently" when using the fingerboard attachment, most immediately say that the movement between the fingers feels smoother. As an observer, you can often see very nicely that the anchor finger, although stable on the nodule, relaxes to the extent that it gives slightly, depending on the finger that is then plucking.

This feeling of suppleness is highly relevant for one's own game during a technical exercise and can be easily transferred or retrieved by the player later.

2. Fingers on the spot

The fact that the anchor finger relaxes and receives less finger pressure also has the effect that the finger attachment changes in general. Fine (innovatory) changes made, for example, by balancing, become more sensitive. Players like to describe it by saying that they have the feeling that they become much more mobile on one side and much more stable at the same time. It is interesting that this is also transferred to the other (plucking) fingers. A light/gentle plucking (i.e. the withdrawal of finger pressure) proves to be possible with a simultaneous precise finger application.

3. Mobility in hand and arm

The suppleness and flexibility achieved is transferred to the whole hand at the moment of practice and for many also to the left arm and even to the shoulder, which visibly lowers for many. It is interesting that many describe this by saying that it is no longer difficult for them to make small compensatory movements with the left arm when, for example, the level of the strings is changed. They then notice that they can "give in" more naturally.