Musicians Finger Exercices - Jules Oroz

MagicMusicianFingers.com “Purely Fingers” B ook One of The Orósz Technique “The Internal Clock” B ook Two of The Orósz Technique THE DELUXE EDITION

A Professional Preparatory Finger Training Method Method For Any Instrument Requiring The Left and Right Hand

Copyright © 2009 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, reproduce, post or forward this document in any format. For permissions, contact [email protected]

WARNING ! THIS MATERIAL IS COPYRIGHTED AND YOU ARE EXPRESSLY FORBIDDEN TO COPY, REPRODUCE, POST OR FORWARD THIS DOCUMENT IN ANY FORMAT. ANY ATTEMPT TO DO SO WILL BE IN VIOLATION OF INTERNATIONAL INTERNATIONAL COPYRIGHT LAWS. THIS MATERIAL IS ALSO EMBEDDED WITH CODES THAT CAN BE TRACED IN THE EVENT THE LINKS TO THIS MATERIAL OR THE MATERIAL ITSELF ARE DISTRIBUTED WITHOUT EXPRESS WRITTEN PERMISSION FROM [email protected]

TABLE OF CONTENTS Book One Lesson 1...........................................Page 11 Lesson 2...........................................Page 28 Lesson 3...........................................Page 34 Lesson 4...........................................Page 40 Lesson 5...........................................Page 46 Lesson 6...........................................Page 52 Lesson 7...........................................Page 59 Lesson 8...........................................Page 66 Lesson 9...........................................Page 71 Lesson 10.........................................Page 77 Lesson 11.........................................Page 82 Lesson 12.........................................Page 87 Lesson 13.........................................Page 93 Lesson 14.........................................Page 99 Lesson 15.........................................Page 105

Book Two Lesson 1...........................................Page 113 Lesson 2...........................................Page 136 Lesson 3...........................................Page 145 Lesson 4...........................................Page 153 Lesson 5...........................................Page 161 Lesson 6...........................................Page 169 Lesson 7...........................................Page 177 Lesson 8...........................................Page 192 Lesson 9...........................................Page 207 Lesson 10.........................................Page 216 Lesson 11.........................................Page 225 Lesson 12.........................................Page 234 Lesson 13.........................................Page 243 Lesson 14.........................................Page 252 Lesson 15.........................................Page 261 Lesson 16.........................................Page 284

MagicMusicianFingers.com “Purely Fingers” Book One - Lesson One

A Professional Preparatory Finger Training Method Method For Any Instrument Requiring The Left and Right Hand Developed by Jules Orósz, Flutist, Clarinetist and Marimbaist

Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Foreward

“Playing Like a Concert Artist” We all want to know the secret to get to artist level.

The secrets that no one teaches are contained contained in these lessons.

Music is the ultimate form of communication understood by all living things ( humans, animals and even plants ). As performers, our goal is to learn our instruments’ technique so well that it becomes an extension of our body. Only when this transference takes place will we truly express express ourselves through music, the real point of performing. Sure, we’ve all attended concerts only to come away raving about just the performers’ virtuosic technique and the things we probably can’t do ourselves but did the performer have anything to “say” with the music ? Was there expression and warmth or did he, she or they give the music a direction ( a point, a story ) or was it simply Technical Frills ? One should demand more of your favorite players and idols and of yourself, too, along these lines. Very few of us ( probably only .00001 % ) have a natural ability for technique. I mean the “effortless” kind that comes with just a little practice. Most of us have to practice practice countless hours while we sometimes sometimes move forward and and sometimes remain stagnant .

Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, reproduce, post or forward this document in any format. For permissions, permissions, contact [email protected]

My method for finger technique is designed to be worked on separately from the instrument and the results are unlike anything you will have experienced before. Although I conceived it for Woodwind players and the training of all ten fingers, I believe it will dramatically improve finger skills on any instrument that requires the use of both right and left hand fingers even if all ten are not employed. My theory behind this is that if you train all ten fingers to have an equally powerful ability then the brain will have been trained thoroughly and completely with little chance for relapse into “lack of control”. Daily scale work, exercises and etudes etudes are all designed to help “get you there”. Woodwind players sometimes use additional exercises specifically designed for the upper register ( we all know the difficulty in playing rapid high note passages ) as well well as trill exercises ( who practices practices trills ?! ) These can all be great and should be incorporated into your practice regimen but for most of us, are not enough because we tire ourselves out before we see results. The other draw back ( if you are an emotionally sensitive person ) is that you become caught up up in the musical direction of the whole etude ( as you should ) all all of which leaves little concentration concentration left for technical self observation. OK, so maybe musical musical lines don’t bog you down too much. Maybe it’s rhythm that zaps your thinking. Whatever it is that slows your progress is eliminated with my method. First, we must train the fingers, give them strength and independence. Each finger must be able to move alone without disturbing the others and without additional helping movements from the wrist or arms. My method takes you through 3 variations of 200 target specific exercises over the course of 19 weeks directing concentration on strength and independence in both the placing and lifting actions of each finger, the coordination to interact with any finger combination and finally to do so with speed and accuracy. 600 short, focused steps to total virtuosic finger control . How far have you gotten gotten in the last 19 weeks with your technique technique with just 20 minutes of practice practice a day ? Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, reproduce, post or forward this document in any format. For permissions, permissions, contact [email protected]

Your success is guaranteed because of two things. One, the motion specific design of each exercise and Two, the full concentration you will be able to devote to pure finger motion and not reading music or focusing on embouchure. It’s all just “Purely Fingers” ! Good Luck with the course and remember that if you need any questions answered, just send me an e-mail.

Yours, Jules Orósz

[email protected]

Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Symbol Explanations The lessons have the Left Hand fingers represented by the following “piano fingering” symbols:

    

The lessons have the Right Hand fingers represented by the following “piano fingering” symbols:

    


The symbols

||: and :|| will tell you to repeat the finger exercise located in between them over and over.

To begin at the most fundamental level, here are the basic visual examples of how I will represent all of the exercises :

SAMPLE CONCEPT ONE ( left hand )

||:      :|| ||:      :||

( right hand )

Sample Concept One instructs that one “Taps”

, the little finger on the left hand, then  or ring finger left hand and

so on with each finger down to , or the thumb. Then repeat it again over and over until you are comfortable with the coordination skill. Then you do the same exercise with the right hand alone.

SAMPLE CONCEPT TWO ( left hand )

( right hand )

||:      :|| ||:      :||

Sample Concept Two instructs that one “taps” the same fingering sequence as Sample Concept One but this time with both hands simultaneously. Both Left and Right Hand little fingers tap at the same time, then both ring fingers tap at the same time, etc.. Each entire sequence, 5-4-3-2-1 is then repeated over and over. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

SAMPLE CONCEPT THREE ( left hand )

( right hand )

||:   ||:

    

 :||   :||

Sample Concept Three has you fingering with both hands in a particular sequence as indicated by reading through t he sequence left to right. Left Hand 5 - 4, then Right Hand 5-4, Left and Right Hands together fingers 3, then Left Hand 2, then Right Hand 2, ending with both hands together fingers 1, the thumbs . You’ll notice that the fingerings are grouped into two groups of four sixteenth note as values indicated by the double beam lines. Later in the course, you may assign metronomic values to the exercises so if you set your metronome to MM = quarter note 60, you would tap the first four finger denominations to each tick of the metronome and then the second four finger denominations to the next metronome tick. The entire sequence is then repeated over and over.

SAMPLE CONCEPT FOUR ( left hand )

||:                 :||

Sample Concept Four will show multiple lines of fingering sequences to run through, reading left to right and top to bottom, like reading a book before the sequence repeats. Let’s get started with lesson #1. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

LESSON #1 There are Three Distinct Finger Motion Styles that are incorporated into each of my fingering sequence exercises. These three “styles” are graduated in terms of how the skills have to develop in a building block way. It is these finger motion styles that actually develop the brain’s ability to control the fingers independently in concert with the fingering sequences. Practice each exercise three times, first using Finger Motion Style One, then repeat it two times using Finger Motion Style Two and then repeat it again three times using Finger Motion Style Three.

Sound complicated ? It’s not ! Here they are :

FINGER MOTION STYLE ONE The First Phase Baseline Skill Builder That Retrains The Brain and Fingers So That One Finger is Not More Dominant Than The Others. Motion Style One develops strength and coordination as well as the ability to move each finger directly from the large hinge ( where the finger meets the hand ) without bending the other joints as the fingers go through the exercises. This teaches the only necessary finger movement.... one finger movement per finger motion. Example, many players when they press down a key on their instrument, first land on the key or tone hole and then let the first joint ( the small joint near the fingernail ) bend, therefore creating two finger movements per fingering. Not as many but a few players also bend the finger at the middle joint which creates multiple finger movements per fingering. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

I have occasionally seen students stiffen the third hinge ( knuckle where the finger meets the hand ) only to maneuver the movement of the finger with the first and second joints. This is very bad technique and will lead nowhere.

At extremely slow tempos, these techniques do not hinder your performance but will absolutely get i n the way in faster passages and eventually will prevent you from playing at high speeds rendering much of the beautiful repertoire unaccessible. Here is how Motion Style One is done:

Sitting at a table on a bar stool so your arms can drop down lower than a regular chair would allow, spread your fingers apart a bit.

Keep your arms and wrists suspended, (not resting on the edge of the table ) and parallel to the table. The palms should face downward, arch the fingers slightly ( approximately 45 degrees ) and then you are ready to begin t he exercise. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

All fingers remain up in the air, suspended, except for the fingers in use. Initiate the finger movements from the large hinge ( the large knuckle where the finger meets the hand ) . Keep each finger slightly arched as if there were a curved metal pin in the finger to not let it lose its shape during the entire finger motion.. This will stop any unnecessary movements from the other two joints. In Motion Style One we use LARGE, STRONG MOVEMENTS of each finger so you can actually hear the finger tips pounding out the exercises on the table top. You should have one finger on the table at all times lifting it when the next one takes its place. Do so with exacting synchronicity. At this time, do not consciously try to stop other fingers from empathetic movements, however, it is Very Important not to let your wrists or arms aid the finger movements. Move The Fingers Only ! If your finger nails are too long and get in the way of the arching of the fingers so as to make you go through the exercises flat fingered or you hear nothing but nails clicking, you must get rid of them. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

File your nails to an appropriate length. It will prove to serve you better when you actually play your instrument. This method of using Large, Strong Movements seems to vividly “burn” pathways from the brain to the fingers as if to say, “Here I am all by myself so you can find me and single me out without the other fingers to help locate me.” It really works ! Remember, speed is not important in this phase so you need to keep the speed slow if you decide to use a metronome. What is most important In Finger Motion Style One is developing strength and independent coordination along with the use of the proper finger hinge movements.

FINGER MOTION STYLE TWO The Second Phase Baseline Skill builder Ingrains The Concept of Minimal Movement From the Non Playing Fingers For Total Finger Independence Training It strengthens the “Lifting Motion” of the fingers which is something that very few players EVER think about. One major benefit of this skill builder is the mental training of preparing for the next fingering....In Advance. Thinking Ahead ! This concept is so important to every musician and needs to be addressed in order to achieve any solid level of success. Finger Motion Style Two is probably the most difficult of the three motion styles and is most likely to be cut short due to mental and physical exhaustion. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

I urge you to do these exercises faithfully as the results that you will see coming forth to you are simply, out of this world ! The skills acquired in both Phase One and Phase Two of the Finger Motion Styles will enable you to achieve success in Phase Three which will ultimately directly apply to your new finger technique on your instrument.

The set up for Finger Motion Style Two is the same as for Motion Style One with the exception that all fingers remain ON the table except for the fingers in use. Still keep your arms and wrists suspended and not resting on the edge of the table.

The arms are parallel to the table and the fingers are arched slightly ( approximately 45 degree angle ) as pictured in above.


Again, you initiate LARGE, FINGER MOVEMENTS from the large hinge ( knuckle where the finger meets the hand ) keeping the fingers arched as if there were a curved metal pin i n each one keeping them from bending or “Breaking” at the first or second joints. When lifting each finger, try to do so at the exact moment the previous finger lands. Not Before....Not After but in exact synchronicity. If you haven’t guessed by now, Speed in Phase Two is Also Irrelevant ! Absolutely do not try these exercises quickly. The elements to be learned are done so at a snail’s pace. If Phase One doesn’t point this out to you, Phase Two will. The personality of each finger on both hands will be exhibited in both their natural abilities as well as their natural challenges or problem areas. As in Phase One, Move Only The Fingers with no help from the wrists or arms. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

FINGER MOTION STYLE THREE The Final Phase of Total Finger Control and Ability Where You Will Refine Your Finger Control To Include Speed, Accuracy and Lightness of Touch This Finger Motion Style emulates the actual finger movements on your instrument. Phase One and Two, in their thorough preparation of the lifting and placing actions of each finger aid in strengthening and creating independence of finger movements and the “Advanced Thinking Technique” of “In Sync” switching of the lifting and placing motions. These are the skills needed to refine your technique, at any level.

In Phase Three, we use the same set up as in Phase One with the arms suspended, parallel to the table top, our fingers arched ( curved at approximately a 45 degree angle ) and also suspended in air except for the fingers in use. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

But this time, we DO NOT use strong large movements but rather EXTREMELY SMALL AND LIGHT TOUCH FINGER MOVEMENTS concentrating on moving ONLY the fingers involved and keeping the others very still. Finger Motion Style Three is where you can now concentrate on controlling the empathetic movements from the non-tapping fingers.

Finger Motion Style Three is probably the most fun in that we can finally use a metronome and work for speed. It most closely resembles our finger use on our instruments so we can see the direct transfer of our newly acquired skills. Remember when applying a metronome to these exercises, you must start slowly then progress to faster speeds one notch at a time, in small increments, always making sure that your fingers are in COMPLETE CONTROL. If you reach a speed where one or more fingers are irregular in their accuracy, you must reduce the metronome speed to where you can resume total control and stay there a little while longer before speeding up again. Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Enjoy this phase, then go to your instrument and play some scales and Etudes. You WILL be blown away at each day’s progress and how your results transfer immediately !

Now here are some instructions as to how the exercises are presented.

Initially, practice the following preliminary concepts for observing how the fingers are to behave during all three styles of finger motions. It is important to become accustomed to how each one “feels” before starting in on the formal training course.

Preliminary Concept

( LH )

Preliminary Concept

( RH )

||:         :|| ||:         :||

I have color coded the fingers in Lesson #1 that are being “focused” on in each line of sequences for easier visualization. Concepts 1A through 1D all have four lines to each exercise. Go through all four lines and end up on the fermata or hold symbol. ( This is the finger to tap to end the four li ne exercise after repeating the four line exercises as many times as needed ) Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Tips & Observations:

Concept 1A

( LH )

||:                

Finger 3 likes to move during the 5-4 repetition. It tends to travel too high.

               

Fingers 5 and 2 like to move

.

during the 4-3 repetition

               

Finger 4 likes to move during the 3-2 repetition.

                :|| 

It is the easiest to keep the other fingers still during the 2-1 repetition.


Concept 1B

( RH )

||:                                                                 :||

Concept 1C

( LH )



||:                                                                 :||




Concept 1D

( RH )

||:                                                                 :||




“The Mirroring Exercises” Concept 1E

LH and RH Simultaneously

||:                 ||:                

                               

                               

                :||                  :|| 


Concept 1 F


||:                 ||:                

                               

                                                :||                 :||


 


Concept 1 G


||:                 ||:                

                               

The RH 2-3 repetition can end up getting ahead the LH 4-3 pattern

                               

.

The LH 3-2 repetition can end up ahead of the RH 3-4

                :||                 :|| Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

 

Concept 1 H



||:                 ||:                

                               

                               

Here, the LH 2-3 might lag behind the RH 4-3.

Here, the RH 3-2 might rush ahead of the LH 3-4.

                :||                  :|| 


A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of each lesson. Remember Not To Use Your Arms or Wrists When Moving Your Fingers. Fingers Only !

FINGER MOTION STYLE ONE

FINGER MOTION STYLE TWO

FINGER MOTION STYLE THREE

“Finger Lifting ”

“Finger Tapping ”

- Arms, wrists hands suspended 2" above table



- Fingers arched slightly, palms face down



- All fingers remain in the air except for the finger(s) that are moving

- All finger tips remain on the table except for the finger(s) in use


- Large, slow movements only from knuckle where finger meets the hand ( the hinge )

- Fingers move only from large knuckle where fingers meet the hand ( the hinge )

- Small, light movements of the fingers from the hinge

- Finger “pounds” the table audibly

- Lift arched fingers as high as possible off the table in large movements to stretch the muscles

- Concentrate on eliminating empathetic finger movements from fingers not in use

“Finger Pounding”

- One finger remains on the table at all times only lifting it when the next finger takes its place

- When one finger lands on the table, lift the next finger at precisely the same moment

- Speed can be increased and controlled with a metronome only in this style


MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Two

A Professional Preparatory Finger Training Method For Any Instrument Requiring The Left and Right Hand Developed by Jules Orósz, Flutist, Clarinetist and Marimbaist


LESSON #2 Remember: Stay Slow in Motion Style One and Two and use large, strong movements from the large knuckle hinge, almost pounding the table using the fingers only - no arms or wrists. In Motion Style Three, use very small and “light touch” movements, concentrate on minimal movements with no empathetic movements from the other fingers. You may try for speed but always stay in control. Try first without accents ( all notes equal emphasis ). Add accents to Motion Styles One and Three only. A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The Following Concepts Are in 9/8 Time.

> Concept 2A ( LH )

>

>

:||

>

||:                   >

Concept 2C ( LH )

>

||:                   >

Concept 2B ( RH )

>

:||

>

||:                  

:||


> Concept 2D ( RH )

>

||:

>

:||

The Following Concepts Are in 6/8 Time and are done without accents.

Concept 2E ( LH )

||:             :||

Concept 2F ( RH )

||:             :||

Concept 2G ( LH )

||:             :||

Concept 2H ( RH )

||:             :|| Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

For the next concepts, 2I through 2P, you will tap one of the previous patterns with the left hand while tapping another, but different pattern with the right hand simultaneously. I call this my “mirroring” technique and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This “Mirror Memorization” technique is one of the keys to the success of my method. Add accents only if you can successfully tap the two hands together. Concept 2I

Concept 2J

Concept 2K

Concept 2L

||: ||:

||: ||:

||: ||:

||: ||:

Left Hand Taps Concept 2A Right Hand Taps Concept 2B

Left Hand Taps Concept 2C Right Hand Taps Concept 2D

Left Hand Taps Concept 2A Right Hand Taps Concept 2D

Left Hand Taps Concept 2C Right Hand Taps Concept 2B

:|| :||

:|| :||

:|| :||

:|| :||

Tips & Observations In 2K and in 2L, the fingers in your weaker hand may move irregularly slower or faster than the stronger hand. You need to slow down and concentrate on those fingers that are out of control.


Concept 2M

Concept 2N

Concept 2O

Concept 2P

||: ||:

Left Hand Taps Concept 2E Right Hand Taps Concept 2F

||: ||:

Left Hand Taps Concept 2G

||: ||:

Left Hand Taps Concept 2E

||: ||:


Right Hand Taps Concept 2H


Right Hand Taps Concept 2F

:|| :||

:|| :||

:|| :||

:|| :||


Remember Not To Use Your Arms or Wrists When Moving Your Fingers. Fingers Only ! FINGER MOTION STYLE ONE

FINGER MOTION STYLE TWO

FINGER MOTION STYLE THREE

“Finger Lifting ”

“Finger Tapping ”
















“Finger Pounding”





MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Three



LESSON #3 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson.

Do these concepts evenly without accents. Repeat each measure three times and then the entire line 3 times. 3X

Concept 3A ( LH )

||: ||:

||: ||: ||: ||: ||: ||:

3X

3X

3X

  :||:   :||:   :||:   :||

3X

3X

3X

3X

:||

3X

  :||:   :||:   :||:   :||

3X

Concept 3D ( RH )

3X

:||

3X

Concept 3C ( LH )

3X

  :||:   :||:   :||:   :||

3X

Concept 3B ( RH )

3X

Tips & Observations Remember: These patterns are all building blocks to achieving “perfect technique”. Do them diligently in the correct requirements of each Finger Motion Style before proceeding to the next concept exercise.

:||

Review the directions of each style before practicing in order to get the most our of your efforts.

:||

Stay the Course !

3X

  :||:   :||:   :||:   :||


The Following Concepts Are in 4/4 Time and are done without accents.

Concept 3E ( LH )

||:

               

:||

Concept 3F ( RH )

||:

               

:||

Concept 3G ( LH )

||:                

:||

Concept 3H ( RH )

||:                

:||


For the next concepts, 2I through 2P, you will tap one of the previous patterns with the left hand while tapping another, but different pattern with the right hand simultaneously. I call this my “mirroring” technique and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This “Mirror Memorization” technique is one of the keys to the success of my method. Concept 3I

Concept 3J

Concept 3K

Concept 3L

||: ||:

||: ||:

||: ||:

||: ||:





:|| :||

:|| :||

:|| :||

Tips & Observations Memorization of Concepts 3A through 3H will assist you especially in Concepts 3K, 3L, 3O and 3P.

:|| :||


Concept 3M

Concept 3N

Concept 3O

||: ||:


||: ||:


||: ||:



Right Hand Taps Concept3H

:|| :||

:|| :||

:|| :||

Tips & Observations Try to memorize each hand separately and then put them together.

Concept 3P

||: ||:

Left Hand Taps Concept 3G Right Hand Taps Concept 3F

:|| :||


Remember Not To Use Your Arms or Wrists When Moving Your Fingers. Fingers Only !

FINGER MOTION STYLE ONE “Finger Pounding”

FINGER MOTION STYLE TWO “Finger Lifting ”

FINGER MOTION STYLE THREE “Finger Tapping ”




















MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Four



LESSON #4 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The Following Exercises are in 5/4 Time. Tap these evenly with no accents. Remember to move only the fingers and not the wrists or arms and make sure your movements are large and slow in Finger Motion Styles One and Two. Only in Motion Style Three do we add lightness of touch with small movements while disciplining the fingers not in use to be still. You may try for speed in Finger Motion Style Three.

Concept 4A ( LH )

||:           :||

Concept 4B ( RH )

||:           :||

Concept 4C ( LH )

||:           :||

Concept 4D ( RH )

||:          

:||


The Following Exercises are in 3/4 Time. After tapping each measure three times, repeat the entire sequence over and over as represented by the large repeat signs. Remember to move only the fingers, not the wrists or arms. Make sure your movements are large and at slow tempos in Motion Finger Styles One and Two. > > >

Concept 4E ( LH )

||:

||:     :||:     :||:     :|| 3X

3X >

Concept 4F

( RH )

||:

>

3X >

Concept 4G ( LH )

||:

>

3X >

3X

:||

3X >

||:     :||:     :||:     :|| 3X

:||

3X >

>

||:

>

||:     :||:     :||:     :|| 3X

Concept 4H ( RH )

3X

||:     :||:     :||:     :|| 3X

:||

:||

3X


THE “ MIRRORING” EXERCISE CONCEPTS

Concept 4I

Concept 4J

Concept 4K

Concept 4L

Concept 4M

||: ||:

Left Hand Taps Concept 4A

||: ||:

Left Hand Taps Concept 4C

||: ||:


||: ||:


||: ||:


Right Hand Taps Concept 4B

Right Hand Taps Concept 4D




:|| :||

:|| :||

:|| :||

:|| :||

:|| :||


Concept 4N

Concept 4O

Concept 4P

||: ||:


||: ||:


||: ||:





:|| :|| :|| :|| :|| :||


Remember Not To Use Your Arms or Wrists When Moving Your Fingers. Fingers Only ! FINGER MOTION STYLE ONE “Finger Pounding”






















MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Five



LESSON #5 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The Following Exercises Are in 3/4 Time. Remember to move only the fingers, not the wrists or arms. Make sure your movements are large and at slow tempos in Finger Motion Styles One and Two. Adhere to the requirements of each Finger Motion Style for the Ultimate Progress to be made ! > > >

Concept 5A ( LH )

||:             :|| >

Concept 5B ( RH )

>

>

||:             :|| >

Concept 5D ( RH )

>

||:             :|| >

Concept 5C ( LH )

>

>

>

||:             :||

For Concepts 5A 5H, tap first with no accents then add a foot beat in quarter note values to beat one and a finger tapping accent to the fourth sixteenth note. This emphasizes the rhythm pattern of a dotted eighth followed by a sixteenth. Remember, accents are only added to Finger Motion Styles One and Three.


The following Exercises Are in 4/4Time. > Concept 5E ( LH )

>

>

>

>

>

>

||:                 :|| >

Concept 5H ( RH )

>

||:                 :|| >

Concept 5G ( LH )

>

||:                 :|| >

Concept 5F ( RH )

>

>

>

>

||:                 :||


THE MIRRORING EXERCISE CONCEPTS

Concept 5I

Concept 5J

Concept 5K

Concept 5L

Concept 5M

||: ||:


||: ||:


||: ||:




||: ||:


||: ||:




:|| :||

:|| :||

:|| :||

:|| :||

:|| :||


Concept 5N

Concept 5O

Concept 5P

||: ||:

||: ||:

||: ||:

Left Hand Taps Concept 5G Right Hand Taps Concept 5H

Left Hand Taps Concept 5E Right Hand Taps Concept 5H


:|| :||

:|| :||

:|| :||

























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Six




Lessons 6 - 11 contain exercise concepts utilizing both hands alternating with each other. In Finger Motion Styles One and Three, make sure each hand always has one finger remaining on the table until the next finger takes its place. Add accents in Finger Motion Style Three only and only after you have mastered playing them evenly with minimal empathetic movements from the fingers not in use. The Following Exercises Are in 5/8 Time and combine both left and right hand fingers.

>

3

>

 

Concept 6A

>

3

>

 

3

>

 

3

 

3

 :||

>

  

As a Reminder For Lessons 6 Through 15 Please Remember the Following:

3



>

  

3



>

  

3



>

  ||:

>

  

||:

Concept 6B

3

3

The open circles  on the top line represent the left hand fingers and the

  

In Motion Styles One and Three, Only One Finger on Each Hand Remains Seated on the Table at all Times Until the Next Finger on That Hand Takes Its Place !

 :||

closed circles hand fingers.

 represent the right


> Concept 6C

3

> 3

 

  

||: > Concept 6D

3

> 3

 

  

>

  

3

||:

>

3

  

>

3

3

  

>

  

>



3

> 3

 

 





:||

 :||

****************************************************** >

3

>

3



Concept 6E

||:   >

>

 ||:  

3

  

3

Concept 6F

>

3

3



>

3





 

 

 

>

>

>

3

  

>

3

  

3

  

:||

  

:||


>

3

>

3



Concept 6G

||:   >

>

  

3

>

||:  

>

3

>

>

3



  

> 3

 

3

  

  

3

  



Concept 6H

3

:||

> 3

  

  

:||

****************************************************** >

3

>

 

Concept 6I

>

3

  ||:

>

  

||:

Concept 6J

3

> 3

> 3

 

 

 

 >

3

 >

  

3





3

> 3

> 3

 

 

 







:||



:||


>

3

 

Concept 6K

3

>

>

 

3

3



3



>

 

||:

>

>

 



>

 

3

 



||:

Concept 6L

>

3

  

>

 

3

>

 



3





:||



:||

3

  

****************************************************** >

3

>

3



Concept 6M

||:   >

>

||:  

>

3

3



>

  

3

  

>

 

3

  

>

  

3



Concept 6N

3

  

3

>

>

3

  

:||

  

:||


>

3

>

3



Concept 6O

||:   >

3

||:  

3

   >

3



Concept 6P

>

3

   >

3



>

  

3

  

>

 

3

  

>

>

3

  

:||

  

:||

























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Seven



LESSON #7 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. In Finger Motion Styles One and Three, one finger from each hand should remain on the table until the next finger takes its place.

The Following Exercises Are in 5/4 Time and combine both left and right hand fingers.

>

3

>

 

Concept 7A

3

 

3

 >

3

  ||:

>

3

3

3

3

>

:||

3

 >

3

 :|| >

  



 

 >

3

 

 

  

>

 >

  

>

3

 >

  

>

 



 

||:

3

 

 >

Concept 7C

>

 

||:

Concept 7B

3

3

  



:||


>

3

 

Concept 7D

>

3

  

||:

>

3

  

>

3

>

  

3

  



:||

****************************************************** > 3 > 3 > 3 > 3 > 3



Concept 7E

||:   >

3



||:   >

3

 

 

>

>

>

3

||:  

3



  

>

>

>

3

  

3



>

:||

3

  

:||

 

3

  

>



 

3

  

3

 



Concept 7G



 



Concept 7F



  

:||


>

3

>

3

>



Concept 7H

||:  

3

  

>

3

>

  

3

  

  

:||

****************************************************** >

3

>

 

Concept 7I

>

 

3

>



3

3

3

:||

3

  

>

3

 >

  

 >

 

  

 

 >

3

 >

 

 

>

 >

3

3

 

 >

  ||:

3

 

3

>

 



||:

3

 >

 

Concept 7K

>



||:

Concept 7J

3

:||

3

  



:||


Concept 7L

> 3

> 3

> 3

> 3

> 3

 

 

 

 

 



||:









:||

******************************************************* >

3

>

3



Concept 7M

||:   >

>

||:   >

3

>



Concept 7O

||:  

>

3

>

  

>

>

3

>

:||

3



>

  

3

  

  

  3

3



  

3

3

 

  

>

  

3



Concept 7N

3

  

3

>

>

:|| 3

  

  

:||


>

3

>



Concept 7P

||:  

3

>

  

3

>

  

3

>

  

3

  

:||

























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Eight




The    patterns that happen consecutively in one hand are the most difficult to control so do good muscle movements here in order to promote strength and independence of the fingers. The Following Exercises Are in 5/4 Time and combine both left and right hand fingers.

>

>

  

Concept 8A

   

||: > Concept 8B

   ||:  >

Concept 8C

>

   ||: 

>

   

>

    >

   

>

   

>

   



>

    >

>

  

   



>

  

:||

>

   

:||

   



****************************************************** Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

:||

>

>



Concept 8D

||:   

>

   

>

 ||:   

>

   

>

 ||:   



  

   

>



:||

>

  

>

  

       





>

>

  

>

Concept 8F

   

>

Concept 8E

>

:||

>

   

   

:||

************************************************************************

>

>

  

Concept 8G

||:

>

   

>

   

>

   

   




:||

>

>

  

Concept 8H

   

>

  

  

               ||:     

:||

>



   :||

>



>



||:

Concept 8I

>

>

 >

>

************************************************************************** >

>



Concept 8J

||:   

>

   

>

 ||:   

   

>

Concept 8K



   

>

   

>

  

>

   

>

>

   

:||

   


:||

>

>

>



Concept 8L

||:   

   

>

   

>

   

   

:||

**************************************************************************























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Nine



LESSON #9 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The    patterns that happen consecutively in one hand present the most difficulty here. Make sure your movements are slow in Styles One and Two so as to promote strength, independence and control. The Following Exercises Are in 5/4 Time and combine both left and right hand fingers.

>

>

  

Concept 9A

   

||: >

||:





:||



:||



:||

    >

   

 >

>

   



  

>

  

  

>

  

>

  





>

  

>

  

>

Concept 9C





||:

>

  

>

  

Concept 9B

>

   

************************************************************************************ Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

>

>

>



Concept 9D

||:   

   

>

>



Concept 9F

||:   



 :||

>

   

:||

  

>

   

  

  

>

 >

   

>

 >

   

>

  

>

 ||:   

   

>

Concept 9E

>

   

   

:||

****************************************************************************************

>

>

  

Concept 9G

||:

>

   

>

   

>

   

   

 :||


>

>

  

Concept 9H

   

||:

>

   



>

   

   

>

   

||:

  

>

  

>



>

Concept 9I

>

>

   

   



:||

****************************************************************************************

>

>



Concept 9J

||:   

>

   

>

   

>

   

   

:||

>

>



Concept 9K

||:   

>

   

>



||:   

   

>

Concept 9L





>

   

:||

  

>

   

>

  

>

   

>

   


:||
























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Ten



LESSON #10 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The exercises in Lessons 10 and 11 begin to point out just how much the brain is involved and where it slows down our progress. Take care to do these very slowly and with good concentration. The Following Exercises Are in 5/4 Time and combine both left and right hand fingers. >

>

  

Concept 10A

   

||: >

   ||:





   

>

  

>

   

>

  

>

>

         :||

>

  

>

Concept 10C





||:

>

  

>

  

Concept 10B

>

   

>

 :|| >

         :||

*********************************************************************************


Remember: In Motion Styles One and Three, Only One Finger on Each Hand Remains Seated on the Table at all Times Until the Next Finger on That Hand Takes Its Place !

>

>



Concept 10D

||:   

   

>

||:   



||:   

  





  

   

>



:||

>

   

:||

>

  

>

   

>





>

  

  

>



Concept 10F

 >

  

>

>

  

>



Concept 10E

>

   

:||

**********************************************************************************

>

  

Concept 10G

||:

>

>

>

>

                

:||


>

>

  

Concept 10H

   

||: >



   

>

   

||:

>

  

>

  

Concept 10I

>

    

>

   

>

>

   

:||

   



:||

*********************************************************************************** >

>



Concept 10J

||:   

   

>

||:   





   

>

   

>

  

>

   

>

  

>



Concept 10K

>

>

   

:||

   

:||


>

>

>



Concept 10L

||:   

   

>

   

>

   

   

:||
























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Eleven



LESSON #11 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. If you are sensitive to your own learning process you can actually feel the brain stretching and expanding its reach so that you can become a better technician on your instrument. The Following Exercises Are in 5/4 Time and combine both left and right hand fingers. >

>

  

Concept 11A

   

||: >

   ||:







:||



:||



:||

   

>

>

   

 >

  

   

  

>

>

   



  

>

>

  

>

  

>

Concept 11C





||:

>

  

>

  

Concept 11B

>

   

********************************************************************* Copyright © 2008 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

>

>



Concept 11D

||:   

>

   

>

 ||:   





Concept 11F

||:   









:||

>

   

>

  

   

  

>

  

 >

  

>

>

  

>

  

>

   

>

Concept 11E

>

:||

>

   

   

:||

************************************************************************************** >

>

  

Concept 11G

||:

>

   

>

   

>

   

   

 :||


>

>

  

Concept 11H

||:

   

>

   

>

   

||:

  

>

  

>



>

Concept 11I

>

 :||

 >

   

   >

   

   

 :||

****************************************************************************************** >

>



Concept 11J

||:   

>

   

>

 ||:   

   

>

Concept 11K



   

>

   

>

  

>

   

>

>

   

:||

   

:||


>

>

>



Concept 11L

||:   

   

>

   

>

   

   

:||
























MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Twelve



LESSON #12 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. Because of the difficulty in Lessons 12 - 15, you will be given two weeks on each lesson before I send you the next one. Practice these slowly and with great thought. Take small breaks if you become mentally fatigued. The Following Exercises Are in 6/8 Time and combine both left and right hand fingers. >

Concept 12A

>

>

>

>

      ||:             :|| >

>

>

Concept 12B

>

>

>

>

>

>

>

- Learn each hand separately then layer them together.

>

>

>

      ||:             :|| >

>

>

>

>

How To Practice

- When practicing them together, make sure the eighth note hand moves automatically while reciting the sixteenth note pattern out loud until it also becomes automatic.

>


>

Concept 12C

>

>

>

>

>

      ||:             :|| >

>

>

>

>

>

************************************************ >

Concept 12D

>

>

>

>

            ||:       :|| >

>

>

Concept 12E

>

>

>

>

>

>

>

>

>

>

            ||:       :|| >

>

>

>

>

>


>

Concept 12F

>

>

>

>

            ||:       >

>

>

>

>

>

:||

>

************************************************** >

Concept 12G

>

>

>

>

      ||:             >

>

>

Concept 12H

>

>

>

>

>

>

>

>

>

>

      ||:             >

>

>

>

>

:||

:||

>


>

>

>

>

>

>

      ||:            

Concept 12I

>

>

>

>

>

:||

>

*************************************************** >

Concept 12J

>

>

>

>

            ||:       >

>

>

Concept 12K

>

>

>

>

>

>

>

>

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Concept 12L

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                 ||:  >

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MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Thirteen



LESSON #13 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. The Following Exercises Are in 6/8 Time and combine both left and right hand fingers.

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Concept 13A

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      ||:             :|| >

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Concept 13B

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As in Lesson 12, learn each hand separately before layering them together.

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How To Practice

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Concentrate !!

      ||:             :|| >

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Concept 13C

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      ||:             >

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Concept 13D

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            ||:       :|| >

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Concept 13E

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            ||:       >

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            ||:      

Concept 13F

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Concept 13G

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Concept 13H

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      ||:             >

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      ||:            

Concept 13I

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Concept 13J

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            ||:       >

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Concept 13K

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                 ||:  :|| >

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Concept 13L

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            ||:       :|| >

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MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Fourteen



LESSON #14 A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. Lessons 14 and 15 push you mentally into another level or degree of coordination. If your brain feels fatigue or actually hurts when you are working hard on them, then you are progressing to the next level. Persevere ! The Following Exercises Are in 6/8 Time and combine both left and right hand fingers. >

Concept 14A

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Practice Tips

            ||:             :|| >

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By the time you reach Lesson #14, the 5-3-4-2-3-1 and 1-3-2-4-3-5 patterns should be well ingrained into your “autopilot” memory.

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Concept 14B

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            ||:             :|| >

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As always, practice first with no accents. These accents are very difficult to do. Try them only after successfully playing the pattern in several repetitions comfortably.

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                       

Concept 14C

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Concept 14D

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            ||:             >

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Concept 14E

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            ||:             >

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            ||:            

Concept 14F

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Concept 14G

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            ||:             >

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Concept 14H

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            ||:             >

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            ||:            

Concept 14I

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Concept 14J

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            ||:             >

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Concept 14K

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            ||:             :|| >

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            ||:             :|| >

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MagicMusicianFingers.com “Purely Fingers” Book One - Lesson Fifteen A Professional Preparatory Finger Training Method For Any Instrument Requiring The Left and Right Hand Developed by Jules Orósz, Flutist, Clarinetist and Marimbaist


LESSON #15 CONGRATULATIONS ! You Made it ! If you think Book One of my Method, MagicMusicianFingers, has done a lot for your strength, speed and your “eye-mind-hand” coordination, you will continue to be amazed when you order Books Two and Three where you’ll begin to i ngrain rhythm and subdivision techniques as well as further deepening your coordination skills. A special word about Books Two and Three is at the end of this lesson ! Just send me an e-mail and I’ll send you details about Book Two or check back on my web site http://www.MagicMusicianFingers.com on how to order and greatly improve your internal rhythmical clock.

The Following Exercises Are in 6/8 Time and combine both left and right hand fingers. A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson. > Concept 15A

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                        >

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As in Lesson #14, your concentration will probably be more focused on the 3 note repeating patterns. However, full concentration may be needed on both patterns simultaneously.

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                        >

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Persevere ! The benefits that transfer to your instrument are astounding !

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                        >

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                        >

Concept 15E

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                        >

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                        >

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Concept 15H

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                        >

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                        >

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Concept 15K

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                        >

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A SPECIAL WORD FROM JULES ABOUT “THE ORÓSZ TECHNIQUE” - BOOKS TWO and THREE In my thirty years of teaching, the inability to freely express oneself through music because of the lack of finger control run s probably neck and neck with the lack of an internal rhythmical clock. By that I mean the ability to dissect rhythms and reproduce them correctly. Until you have total control in playing rhythms strictly and accurately, you will never be able to break rhythm down and play with rubato, that wonderful “time stretching” technique while never losing sight of the beat and forward motion of the musical phrase. Without this skill, you simply can not even hope to express yourself and keep the composer’s intent in mind. Most of us are generally satisfied with our own “guessing game” approach to real rhythmical control although deep down we know that it just doesn’t work. Book One of my method, which you have now completed, helps you acquire basic finger coordination and control as well as trains your brain and fingers to cooperate naturally. Book Two will further deepen that skill plus begin to establish rhythm awareness and the all important “subdivision” skills. Book Three opens the door to real rhythm understanding so that you can learn to definitively decipher and reproduce rhythms accurately. No more guessing games. Rhythm is so important to a composition but seldom really focused on in our studies. It adds style and personality to the music.


As a percussionist first, I had t he distinct advantage of learning complex rhythms and ingraining my internal clock ( or internal metronome ) in which to reproduce rhythms in perfect time before I was introduced to the other elements of playing wind instruments such as embouchure, breathing, note reading and melody line segregation, all of which dilute the rhythm learning process to the point of difficult if not impossible. So I will take you back and cover the path not taken for most instrumentalists to help you become the musician you strive to become. Stay the course because after Book One you should follow up with Book Two and then Book Three, in that order. The three books create a method designed in a well thought out progressive layering structure that allows the learning of fingering control, coordination and rhythm to happen properly once and for all. My exercises are like a Mozart Symphony, condensed to represent only those necessary steps to achieve success. They do not contain extra busy work to waste your time. They get to the point ! I look forward to working with you again and hearing your comments throughout the process. Sincerely, Jules http://www.MagicMusicanFingers.com [email protected]


www.MagicMusicianFingers.com “The Internal Clock” - Book Two of The Orósz Technique - Lesson 1

Phase Two of a Professional Preparatory Finger Training Method That Incorporates a Rhythmical Sub-Division Skill Builder For Any Instrument Requiring The Left and Right Hand

Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Foreward “Sub Dividing Like a Percussionist” ( The Real Measurement of Time )

Now that you have completed Book One “Purely Fingers”, an awakening and awareness of the personality characteristics of each finger and how they interact with each other working through concepts that develop strength and coordination, you are ready to take learning to a deeper level with the incorporation of subdivision ( breaking rhythms down into smaller parts in an even or uneven distribution ). In Book Two, “The Internal Clock”, I continue the finger training exercises where Book One left off, which in a logical progression, untangling tough coordination problems, freeing your brain and fingers so you can perform more naturally. In this series, however, I extend the training to incorporate sub-division skills to better help you establish your “Internal Clock”. By practicing the exercises in alternate time signatures using varied foot beats and accents, rhythmical patterns will shift emphasis creating a solid adoption of the beat and its smaller parts as well as further “busting up” coordination difficulties. Still practicing away from your instrument, you keep concentration focused and by applying my layering technique of adding one new element at a t ime, you’ll yield better results. Some musicians guess at rhythms with limited success and often without consistency because they don’t really know how to subdivide making musical compositions impossible to tackle and performing in a group frustrating and even embarrassing. Musicians need to develop a solid internal clock and the skills to subdivide any rhythm at first glance.


Study Book Two well because it is the predecessor to MagicMusicianFingers Book Three “Ultimate Rhythm” where you will establish a firm foundation in the understanding and application of “Rhythm” as it is the life force and energy of a musical composition. So better get practicing - Your Internal Clock is Ticking ! Good luck with the course and remember that if you need any questions answered, just send me an e-mail. Yours, ~ Jules [email protected]

Just so you know, Book Two of my method takes you through 224 target specific exercises over the course of 18 weeks directing concentration on strength and independence in both the placing and lifting actions of each finger, the coordination to interact with any finger combination and finally to do so with speed and accuracy. In all, employing my unique Three Finger Motion Styles, you have 672 short, focused steps to total virtuosic finger control. Also, by incorporating strategic foot beats and accents, you will begin to establish an internal rhythmical clock which will enable you to count, subdivide and understand rhythms.


Symbol Explanations The lessons have the Left Hand fingers represented by the following “piano fingering” symbols:

    

The lessons have the Right Hand fingers represented by the following “piano fingering” symbols:

    


The symbols ||: and :|| will tell you to repeat the finger exercise located in between them over and over. To begin at the most fundamental level, here are the basic visual examples of how I will represent all of the exercises :

SAMPLE CONCEPT ONE ( left hand )

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( right hand )

Sample Concept One instructs that one “Taps”

, the little finger on the left hand, then  or ring finger left hand and

so on with each finger down to , or the thumb. Then repeat it again over and over until you are comfortable with the coordination skill. Then you do the same exercise with the right hand alone.

SAMPLE CONCEPT TWO ( left hand )

( right hand )

||:      :|| ||:      :||

Sample Concept Two instructs that one “taps” the same fingering sequence as Sample Concept One but this time with both hands simultaneously. Both Left and Right Hand little fingers tap at the same time, then both ring fingers tap at the same time, etc.. Each entire sequence, 5-4-3-2-1 is then repeated over and over.


SAMPLE CONCEPT THREE ( left hand )

( right hand )

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    

 :||   :||

Sample Concept Three has you fingering with both hands in a particular sequence as indicated by reading through the sequence left to right. Left Hand 5 - 4, then Right Hand 5-4, Left and Right Hands together fingers 3, then Left Hand 2, then Right Hand 2, ending with both hands together fingers 1, the thumbs . You’ll notice that the fingerings are grouped into two groups of four sixteenth note as values indicated by the double beam lines. Later in the course, you may assign metronomic values to the exercises so if you set your metronome to MM = quarter note 60, you would tap the first four finger denominations to each tick of the metronome and then the second four finger denominations to the next metronome tick. The entire sequence is then repeated over and over.

SAMPLE CONCEPT FOUR ( left hand )

||:        

        :|| Sample Concept Four will show multiple lines of fingering sequences to run through, reading left to right and top to bottom, like reading a book before the sequence repeats.


There are Three Distinct Finger Motion Styles that are incorporated into each of my fingering sequence exercises. These three “styles” are graduated in terms of how the skills have to develop in a building block way. It is these finger motion styles that actually develop the brain’s ability to control the fingers independently in concert with the fingering sequences. Practice each exercise three times, first using Finger Motion Style One, then repeat it two times using Finger Motion Style Two and then repeat it again three times using Finger Motion Style Three.

Sound complicated ? It’s not ! Here they are :

FINGER MOTION STYLE ONE The First Phase Baseline Skill Builder That Retrains The Brain and Fingers So That One Finger is Not More Dominant Than The Others. Motion Style One develops strength and coordination as well as the ability to move each finger directly from the large hinge ( where the finger meets the hand ) without bending the other joints as the fingers go through the exercises. This teaches the only necessary finger movement.... one finger movement per finger motion. Example, many players when they press down a key on their instrument, first land on the key or tone hole and then let the first joint ( the small joint near the fingernail ) bend, therefore creating two finger movements per fingering. Not as many but a few players also bend the finger at the middle joint which creates multiple finger movements per fingering.


I have occasionally seen students stiffen the t hird hinge ( knuckle where the finger meets the hand ) only to maneuver the movement of the finger with the first and second joints. This is very bad technique and will lead nowhere.

At extremely slow tempos, these techniques do not hinder your performance but will absolutely get in the way in faster passages and eventually will prevent you from playing at high speeds rendering much of the beautiful repertoire unaccessible. Here is how Motion Style One is done:

Sitting at a table on a bar stool so your arms can drop down lower than a regular chair would allow, spread your fingers apart a bit.

Keep your arms and wrists suspended, (not resting on the edge of the table ) and parallel to the table. The palms should face downward, arch the fingers slightly ( approximately 45 degrees ) and then you are ready to begin the exercise.


All fingers remain up in the air, suspended, except for the fingers in use. Initiate the finger movements from the large hinge ( the large knuckle where the finger meets the hand ) . Keep each finger slightly arched as if there were a curved metal pin in the finger to not let it lose its shape during the entire finger motion.. This will stop any unnecessary movements from the other two joints. In Motion Style One we use LARGE, STRONG MOVEMENTS of each finger so you can actually hear the finger tips pounding out the exercises on the table top. You should have one finger on the table at all times lifting it when the next one takes its place. Do so with exacting synchronicity. At this time, do not consciously try to stop other fingers from empathetic movements, however, it is Very Important not to let your wrists or arms aid the finger movements. Move The Fingers Only ! If your finger nails are too long and get in the way of the arching of the fingers so as to make you go through the exercises flat fingered or you hear nothing but nails clicking, you must get rid of them.


File your nails to an appropriate length. It will prove to serve you better when you actually play your instrument. This method of using Large, Strong Movements seems to vividly “burn” pathways from the brain to the fingers as if to say, “Here I am all by myself so you can find me and single me out without the other fingers to help locate me.” It really works ! Remember, speed is not important in this phase so you need to keep the speed slow if you decide to use a metronome. What is most important In Finger Motion Style One is developing strength and independent coordination along with the use of the proper finger hinge movements.

FINGER MOTION STYLE TWO The Second Phase Baseline Skill builder Ingrains The Concept of Minimal Movement From the Non Playing Fingers For Total Finger Independence Training It strengthens the “Lifting Motion” of the fingers which is something that very few players EVER think about. One major benefit of this skill builder is the mental training of preparing for the next fingering....In Advance. Thinking Ahead ! This concept is so important to every musician and needs to be addressed in order to achieve any solid level of success. Finger Motion Style Two is probably the most difficult of the three motion styles and is most likely to be cut short due to mental and physical exhaustion.


I urge you to do these exercises faithfully as the results that you will see coming forth to you are simply, out of this world ! The skills acquired in both Phase One and Phase Two of the Finger Motion Styles will enable you to achieve success in Phase Three which will ultimately directly apply to your new finger technique on your instrument.

The set up for Finger Motion Style Two is the same as for Motion Style One with the exception that all fingers remain ON the table except for the fingers in use. Still keep your arms and wrists suspended and not resting on the edge of the table.

The arms are parallel to the table and the fingers are arched slightly ( approximately 45 degree angle ) as pictured in above.


Again, you initiate LARGE, FINGER MOVEMENTS from the large hinge ( knuckle where the finger meets the hand ) keeping the fingers arched as if there were a curved metal pin in each one keeping them from bending or “Breaking” at the first or second joints. When lifting each finger, try to do so at the exact moment the previous finger lands. Not Before....Not After but in exact synchronicity. If you haven’t guessed by now, Speed in Phase Two is Also Irrelevant ! Absolutely do not try these exercises quickly. The elements to be learned are done so at a snail’s pace. If Phase One doesn’t point this out to you, Phase Two will. The personality of each finger on both hands will be exhibited in both their natural abilities as well as their natural challenges or problem areas. As in Phase One, Move Only The Fingers with no help from the wrists or arms.


FINGER MOTION STYLE THREE The Final Phase of Total Finger Control and Ability Where You Will Refine Your Finger Control To Include Speed, Accuracy and Lightness of Touch This Finger Motion Style emulates the actual finger movements on your instrument. Phase One and Two, in their thorough preparation of the lifting and placing actions of each finger aid in strengthening and creating independence of finger movements and the “Advanced Thinking Technique” of “In Sync” switching of the lifting and placing motions. These are the skills needed to refine your technique, at any level.

In Phase Three, we use the same set up as in Phase One with the arms suspended, parallel to the table top, our fingers arched ( curved at approximately a 45 degree angle ) and also suspended in air except for the fingers in use.


But this time, we DO NOT use strong large movements but rather EXTREMELY SMALL AND LIGHT TOUCH FINGER MOVEMENTS concentrating on moving ONLY the fingers involved and keeping the others very sti ll. Finger Motion Style Three is where you can now concentrate on controlling the empathetic movements from the non-tapping fingers.

Finger Motion Style Three is probably the most fun in that we can finally use a metronome and work for speed. It most closely resembles our finger use on our instruments so we can see the direct transfer of our newly acquired skills. Remember when applying a metronome to these exercises, you must start sl owly then progress to faster speeds one notch at a time, in small increments, always making sure that your fingers are in COMPLETE CONTROL. If you reach a speed where one or more fingers are irregular in their accuracy, you must reduce the metronome speed to where you can resume total control and stay t here a little while longer before speeding up again.


Enjoy this phase, then go to your instrument and play some scales and Etudes. You WILL be blown away at each day’s progress and how your results transfer immediately !

Now here are some instructions as to how the exercises are presented.

Initially, practice the following preliminary concepts for observing how the fingers are to behave during all three styles of finger motions. It is important to become accustomed to how each one “feels” before starting in on the formal training course.

Preliminary Concept

( LH )

Preliminary Concept

( RH )

||:         :|| ||:         :||

Instructions For Foot Beat Application.

Start by sitting in a chair so that your entire foot rests flat on the floor. Lift your foot from the ankle while keeping your heel firmly on the floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off the floor and parallel to the floor that your foot strikes when raising up off the floor. Always lift the foot on the “upbeat” and place it down on the “downbeat”. Make sure the up and down movements are at equal intervals. This will automatically outline eight note patterns and begin your internal clock training. Let’s get started with Lesson #1. Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

LESSON #1 SPECIAL INSTRUCTION:

Foot Beat and Accent Applications

Finger Motion Style One: Repeat 3 Times for each concept:

(Slow Tempo ) Secure the finger tapping pattern first and then layer in the foot beat and lastly the accents as your abilities allow.

Finger Motion Style Two: Repeat 1 or 2 Times for each concept:

Finger Motion Style Three: Repeat 3 Times for each concept:

( Extremely Slow Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents.

( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but do not add accents. Work for speed and lightness of touch.

The Mirrored Exercises: ( Lessons 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger switches on each hand simultaneously. It is not necessary to include a foot beat or accents unless you can easily do so.  - Foot Strikes the Floor Symbols:



- Foot Lifts Up and Strikes the Imaginary Ceiling

> - Accent ( Make Finger Tap Louder )


A summary of the Three Finger Motion Styles and Foot Beating Technique that you are to follow can be found at the end of each lesson.

Beat your foot to a quarter note beat. Repeat each measure two times then repeat the entire line according to the requirements of each Finger Motion Style. Example: Concept Sample - In Finger Motion Style One, tap measure one 2 times, then tap measure two 2 times, then repeat this procedure three times. Try to proceed directly from measure one to measure two without pausing and likewise when repeating the entire line, do not pause so that you tap continuously with no stopping. The Exercises are written as follows:

||:         :||:         :|| In other words, according to my instructions above, what you will do is in Finger Motion Style One and Finger Motion Style Three, you’ll tap through the following three times. In Finger Motion Style Two, tap through the following one or two times.

||:                

                :|| When choosing a tempo, make sure that you can comfortably tap the sixteenth note values and stay at this tempo throughout the entire exercise. [ Remember to Layer Your Learning ] Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Concepts 1A - 1D are in 4/4 and 2/4 time respectively. Concept 1A:

||:         :||:         :||    

   









Concept 1B:

||:         :||:         :||    

   









Concept 1C:

||:         :||:         :||    

   










Concept 1D:

||:         :||:         :||    

   









NOTE: Concepts 1E - 1H are in 6/4 and 3/4 time respectively. Beat your foot to the quarter note beat. Concept 1E:

||:             :||:             :||            













Concept 1F:

||:             :||:             :||            














Concept 1G:

||:             :||:             :||            













Concept 1H :

||:             :||:             :||            














“THE MIRRORING EXERCISES”

For the next concepts 1I - 1P, you will tap one of the previous patterns with the left hand while tapping another but different patterns with the right hand simultaneously. I call this my Mirroring Technique” and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This gets your concentration off the printed page and onto your finger technique. This “Mirroring Memorization Technique” is one of the keys t o the success of my method !

Concept 1I:


Concept 1J:


Concept 1K:


Concept 1L:


Concept 1M:


Concept 1N:



Concept 1O:


Concept 1P:
























INSTRUCTIONS FOR FOOT BEATING APPLICATION Start by sitting in a chair so that your entire foot rests flat on the floor. Lift your foot from the ankle while keeping your heel firmly on the floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off the floor and parallel to the floor that your foot strikes when raising up off the floor. Always lift the foot on the “upbeat” and place it down on the “downbeat”. Make sure the up and down movements are at equal intervals. This will automatically outline eight note patterns and begin your internal clock training.

Copyright © 2009 MagicMusicianFingers The Orósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]










( Extremely Slow Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents. ( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but do not add accents. Work for speed and lightness of touch.

The Mirrored Exercises: ( Lessons 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger switches on each hand simultaneously. It is not necessary to include a foot beat or accents unless you can easily do so.  - Foot Strikes the Floor Symbols:








||:         :||:         :|| In other words, according to my instructions above, what you will do is in Finger Motion Style One and Finger Motion Style Three, you’ll tap through the following three times. In Finger Motion Style Two, tap through the following one or two times.

||:                

                :|| When choosing a tempo, make sure that you can comfortably tap the sixteenth note values and stay at this tempo throughout the entire exercise. [ Remember to Layer Your Learning ] Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

Concepts 2A - 2D are in 6/4 and 3/4 respectively. Concept 2A: ( Please note the location of the accents ) >

>

>

>

>

>

>

>

>

||:             :||:             :||    

       













Concept 2B:

>

>

>

>

>

>

>

>

>

||:             :||:             :||            













Concept 2C: >

>

>

>

>

>

>

>

>

||:             :||:             :||            














Concept 2D:

>

>

>

>

>

>

>

>

>

||:             :||:             :||            













Concept 2E - 2H are in 8/4 and 4/4 respectively. Concept 2E:

>

Concepts 2E - 2H have more number symbols than can fit on one line, so just perform them like the above exercises as one continuous line. >

>

>

>

>

>

>

||:                 :||                 >

>

>

>

||:                 :|| 
















Concept 2F:

>

>

>

>

>

>

>

>

||:                 :||                 >

>

>

>

||:                 :|| 















Concept 2G:

>

>

>

>

>

>

>

>

||:                 :||                 >

>

>

>

||:                 :|| 
















Concept 2H:

>

>

>

>

>

>

>

>

||:                 :||                 >

>

>

>

||:                 :|| 

















For the next Concepts 2I - 2P, you will tap one of the previous patterns with the left hand while tapping another but different patterns with the right hand simultaneously. I call this my Mirroring Technique” and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This gets your concentration off the printed page and onto your finger technique. This “Mirroring Memorization Technique” is one of the keys to the success of my method ! Concept 2I:


Concept 2J:


Concept 2K:


Concept 2L:


Concept 2M:


Concept 2N:


Concept 2O:


Concept 2P:

Left Hand Taps Concept 2G Right Hand Taps Concept 2F Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]






















INSTRUCTIONS FOR FOOT BEATING APPLICATION Start by sitting in a chair so that your entire foot r ests flat on the floor. Lift your foot from the ankle while keeping your heel firmly on the floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off the floor and parallel to t he floor that your foot strikes when raising up off the floor . Always lift the foot on the “upbeat” and place it down on the “downbeat” . Make sure the up and down movements are at equal intervals. This will automatically outline eight note patterns and begin your internal clock training.











( Extremely Slow Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents. ( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but do not add accents. Work for speed and lightness of touch.

The Mirrored Exercises: ( Lessons 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger switches on each hand simultaneously. It is not necessary to include a foot beat or accents unless you can easily do so.  - Foot Strikes the Floor Symbols:









||:                



>

>

>

>

>

>

||:         :||:         :||        









Concept 3B:

>

>

>

>

>

>

||:         :||:         :||        









Concept 3C:

>

>

>

>

>

>

||:         :||:         :||        










Concept 3D:

>

>

>

>

>

>

||:         :||:         :||        









Concepts 3E - 3H are in 6/4 and 3/4 time respectively. Concept 3E:

>

>

>

>

>

>

>

>

>

||:             :||:             :||            













Concept 3F:

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>

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>

||:             :||:             :||        

   














Concept 3G:

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>

||:             :||:             :||        

   













Concept 3H:

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||:             :||:             :||        

   















For the next Concepts 3I - 4P, you will tap one of the previous patterns with the left hand while tapping another but different patterns with the right hand simultaneously. I call this my Mirroring Technique” and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This gets your concentration off the printed page and onto your finger technique. This “Mirroring Memorization Technique” is one of the keys to the success of my method ! Concept 3I:


Concept 3J:


Concept 3K:


Concept 3L:


Concept 3M:


Concept 3N:


Concept 3O:


Concept 3P:
































Finger Motion Style Two: Repeat 1 or 2 times for each concept:

Finger Motion Style Three: Repeat 3 times for each concept:

( Extremely Slow Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents. ( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but Do Not add accents. Work for speed and lightness of touch.

The Mirrored Exercises: ( Lesson 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger switches on each hand simultaneously. It is not necessary to include a foot beat or accents unless you can easily do so.  - Foot Strikes the Floor Symbols:









||:                



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||:         :||:         :||        









Concept 4B:

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>

||:         :||:         :||        









Concept 4C:

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>

||:         :||:         :||        










Concept 4D:

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>

||:         :||:         :||        









Concepts 4E - 4H are in 6/4 and 3/4 time respectively.

Concept 4E:

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>

||:             :||:             :||            













Concept 4F:

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>

||:             :||:             :||        

   














Concept 4G:

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>

||:             :||:             :||        

   













Concept 4H:

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||:             :||:             :||            















For the next Concepts 3I - 4P, you will tap one of the previous patterns with the left hand while tapping another but different patterns with the right hand simultaneously. I call this my Mirroring Technique” and requires, obviously, that you have to memorize the patterns separately first before you can combine them together. This gets your concentration off the printed page and onto your finger technique. This “Mirroring Memorization Technique” is one of the keys to the success of my method ! Concept 4I


Concept 4J


Concept 4K


Concept 4L


Concept 4M


Concept 4N


Concept 4O


Concept 4P












































||:                

                :|| When choosing a tempo, make sure that you can comfortably tap the sixteenth note values and stay at this tempo throughout the entire exercise. [ Remember to Layer Your Learning ]


Concepts 5A - 5H are in 4/4 and 2/4 time respectively. Concept 5A:

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||:         :||:         :||        









Concept 5B:

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>

||:         :||:         :||        









Concept 5C:

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>

||:         :||:         :||        










Concept 5D:

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>

||:         :||:         :||        









Concept 5E:

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>

||:         :||:         :||        









Concept 5F:

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>

||:         :||:         :||        










Concept 5G:

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||:         :||:         :||        









Concept 5H:

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||:         :||:         :||        













Concept 5J


Concept 5K


Concept 5L


Concept 5M


Concept 5N


Concept 5O


Concept 5P












































||:                


a Concepts 6A - 6H are in 4/4 and 2/4 time respectively. Concept 6A:

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||:         :||:         :||        









Concept 6B:

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||:         :||:         :||        









Concept 6C:

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||:         :||:         :||        










Concept 6D:

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||:         :||:         :||        









Concept 6E:

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||:         :||:         :||        









Concept 6F:

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||:         :||:         :||        










a Concept 6G:

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||:         :||:         :||        









Concept 6H:

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||:         :||:         :||        













Concept 6J


Concept 6K


Concept 6L


Concept 6M


Concept 6N


Concept 6O


Concept 6P


































Symbols:




- Foot Strikes the Floor






In Concepts 7A - 7P, measure one is in 6/4 time and measure two is in 3/2 time. You must mentally change the meaning of your foot beat. In 6/4 time, the eighth note triplet takes up one full beat. In 3/2 time, eighth note triplets take only half of a beat each, therefore, you tap one triplet when the foot goes down and one triplet when the foot comes up. Make the quarter note beat in measure one equal to the half note beat in measure two. Therefore the triplets in measure two are twice as fast as in measure one. Concept 7 A: Measure One - quarter note equals one beat

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3

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||:  

3

>

  



3

>

  



3

>

  



3

>

  



3

:||

  



 

Concept 7 A: Measure Two - half note equals one beat a a

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3

3

||:  

  



>

3

  



3

  



>

3

3

 

 

 

 

:|| 




Concept 7 B: Measure One - quarter note equals one beat

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3

>

||:  

3

>

  



3

>

  



3

>

  



3

>

  

3





:||

 



 

a Concept 7 B: Measure Two - half note equals one beat

>

3

3

||:  

>

  



3

3

  



>

  



3

>

  



3

:||

  



 

Concept 7 C: Measure One - quarter note equals one beat

>

3

>

||:  

>

  



3

>

  



3

>

  



3

>

  



3

:||

  



3

 


Concept 7 C: Measure Two - half note equals one beat

>

3

3

||:  

  



>

3

3

  



>

  



3

3

 

 

 

 

:|| 



a Concept 7 D: Measure One - quarter note equals one beat c

>

3

>

||:  

3

>

  



3

>

  



3

>

  



3

>

  



3

:||

  



 

Concept 7 D: Measure Two - half note equals one beat a

>

3

3

||:  

  



>

3

  



3

  



>

3

3

 

 

 

 

:|| 




Concept 7 E: Measure One - quarter note equals one beat

>

3

||:

>

3

   

>

3

   

>

3

   

>

3

   

>

3

 :||

   

  

a Concept 7 E: Measure Two - half note equals one beat a

>

3

||:

3

   

>

3

   

3

   

>

3

   

3

 :||

   

  

Concept 7 F: Measure One - quarter note equals one beat a

>

3

||:

>

3

   

>

3

   

>

3

   

>

3

   

>

3

 :||

   

  


Concept 7 F: Measure Two - half note equals one beat

>

3

||:

3

   

>

3

   

3

   

>

3

   

3

 :||

   

  

a Concept 7 G: Measure One - quarter note equals one beat a

>

3

||:

>

3

   

>

3

   

>

3

   

>

3

   

>

3

 :||

   

  

Concept 7 G: Measure Two - half note equals one beat a

>

3

||:

3

   

>

3

   

3

   

>

3

   

3

 :||

   

  


Concept 7 H: Measure One - quarter note equals one beat

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3

||:

>

3

   

>

3

   

>

3

   

>

3

   

>

3

 :||

   

  

a Concept 7 H: Measure Two - half note equals one beat a

>

3

||:

3

   

>

3

   

3

   

>

3

   

3

 :||

   

  

Concept 7 I: Measure One - quarter note equals one beat a

>

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Concept 7 I: Measure Two - half note equals one beat

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a Concept 7 J: Measure One - quarter note equals one beat a

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Concept 7 J: Measure Two - half note equals one beat a

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Concept 7 K: Measure One - quarter note equals one beat

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a Concept 7 K: Measure Two - half note equals one beat a

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Concept 7 L: Measure One - quarter note equals one beat a

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Concept 7 L: Measure Two - half note equals one beat

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3

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3

3

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a Concept 7 M: Measure One - quarter note equals one beat a

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3

   

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3

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3

   

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3

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Concept 7 M: Measure Two - half note equals one beat a

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3

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3

   

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   

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Concept 7 N: Measure One - quarter note equals one beat

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3

||:

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3

   

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3

   

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3

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3

   

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3

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a Concept 7 N: Measure Two - half note equals one beat a

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3

   

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3

   

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   

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Concept 7 O: Measure One - quarter note equals one beat a

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3

||:

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3

   

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3

   

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3

   

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3

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   

  


Concept 7 O: Measure Two - half note equals one beat

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3

||:

3

   

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3

   

3

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3

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   

  

a Concept 7 P: Measure One - quarter note equals one beat a

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3

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3

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3

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3

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3

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3

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   

  

Concept 7 P: Measure Two - half note equals one beat a

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3

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3

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   

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In Concepts 8A - 8P, measure one is in 6/4 time and measure two is in 3/2 time. You must mentally change the meaning of your foot beat. In 6/4 time, the eighth note triplet takes up one full beat. In 3/2 time, eighth note triplets take only half of a beat each, therefore, you tap one triplet when the foot goes down and one triplet when the foot comes up. Make the quarter note beat in measure one equal to the half note beat in measure two. Therefore the triplets in measure two are twice as fast as in measure one. Concept 8 A: Measure One - quarter note equals one beat

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Concept 8 A: Measure Two - half note equals one beat a a

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3

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3

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3

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Concept 8 B: Measure One - quarter note equals one beat

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a Concept 8 B: Measure Two - half note equals one beat

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3

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3

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Concept 8 C: Measure One - quarter note equals one beat

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3

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Concept 8 C: Measure Two - half note equals one beat

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3

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a Concept 8 D: Measure One - quarter note equals one beat c

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Concept 8 D: Measure Two - half note equals one beat a

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3

3

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3

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3

3

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Concept 8 E: Measure One - quarter note equals one beat

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3

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3

   

>

3

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a Concept 8 E: Measure Two - half note equals one beat a

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3

   

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Concept 8 F: Measure One - quarter note equals one beat a

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3

   

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3

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3

   

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   

  


Concept 8 F: Measure Two - half note equals one beat

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   

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3

   

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   

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a Concept 8 G: Measure One - quarter note equals one beat a

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3

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   

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Concept 8 G: Measure Two - half note equals one beat a

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3

   

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   

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Concept 8 H: Measure One - quarter note equals one beat

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a Concept 8 H: Measure Two - half note equals one beat a

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   

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Concept 8 I: Measure One - quarter note equals one beat a

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Concept 8 I: Measure Two - half note equals one beat

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3

3

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>

3

3

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3

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a Concept 8 J: Measure One - quarter note equals one beat a

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3

>

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3

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3

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3

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Concept 8 J: Measure Two - half note equals one beat a

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3

3

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>

3

  

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3

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>

3

3

 

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 

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Concept 8 K: Measure One - quarter note equals one beat

>

3

>

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3

>

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3

>

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3

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a Concept 8 K: Measure Two - half note equals one beat a

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3

3

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>

  



3

3

 

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3

3

 

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

Concept 8 L: Measure One - quarter note equals one beat a

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3

>

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3

>

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3

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Concept 8 L: Measure Two - half note equals one beat

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3

3

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  

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3

3

  

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3

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a Concept 8 M: Measure One - quarter note equals one beat a

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   

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   

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  

Concept 8 M: Measure Two - half note equals one beat a

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   

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3

   

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   

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Concept 8 N: Measure One - quarter note equals one beat

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a Concept 8 N: Measure Two - half note equals one beat a

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   

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Concept 8 O: Measure One - quarter note equals one beat a

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   

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Concept 8 O: Measure Two - half note equals one beat

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a Concept 8 P: Measure One - quarter note equals one beat a

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Concept 8 P: Measure Two - half note equals one beat a

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   

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Symbols:


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> - Accent ( Make Finger Tap Louder ) Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

In Concepts 9A - 9L, you must change your foot beat. First, you tap the exercise in 5/4 time until comfortable. Then, you tap it in 10/8 by changing your foot beat from a quarter note to an eighth note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. Concept 9A:

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

Concept 9B:

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   

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   

:||

  




Concept 9C:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 9D:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 9E:

>

>

||:

   

>

   

>

   

>

   

  


Concept 9F:

>

>

||:

   

>

   

>

   

>

   



:||

  

Concept 9G:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 9H:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 9I:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 9J:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 9K:

>

>

||:

   

>

   

>

   

>

   

  


Concept 9L:

>

>

||:

   

>

   

>

   

>

   



:||

  

Copyright © 2009 MagicMu MagicMusicianFingers sicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, reproduce, post or forward this document in any format. For permissions, permissions, contact [email protected]



















- When one finger lands on the the table, lift the next finger at precisely the same moment



INSTRUCTIONS FOR FOOT BEATING APPLICATION Start by sitting in a chair so that your entire foot r ests flat on the floor. Lift your foot from the ankle while keeping your heel firmly on the floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off the floor and parallel to t he floor that your foot strikes when raising up off the floor . Always lift the foot on the “upbeat” and place it down on the “downbeat” . Make sure the up and down movements are at equal intervals.



Phase Two of a Professional Preparatory Finger Finger Training Method That Incorporates a Rhythmical Sub-Division Skill Builder For Any Instrument Requiring The Left and Right Hand


LESSON #10 SPECIAL INSTRUCTION: INSTRUCTION:


Finger Motion Style One: Repeat Repeat 3 Times Times for each each concept concept::

(Slow Tempo Tempo ) Secure Secure the finger finger tappin tapping g pattern pattern first first and then layer in the foot beat and lastly the accents as your abilities allow.



Symbols:

( Extremely Extremely Slow Slow Tempo Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents. ( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but Do Not add accents. Work for speed and lightness of touch.






- Foot Lifts Up and Strikes the Imaginary Ceiling Ceiling

Tap Louder ) > - Accent ( Make Finger Tap


In Concepts 10A - 10L, you you must change your foot beat. beat. First, you tap the exercise in 5/2 time until comfortable. Then, you tap it in 10/4 by changing your foot beat from a half note to a quarter note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. Concept 10 A:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 10 B:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 10 C:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 10 D:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 10 E:

>

>

||:

   

>

   

>

   

>

   

  


Concept 10 F:

>

>

||:

   

>

   

>

   

>

   



:||

  

Concept 10 G:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 10 H:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 10 I:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 10 J:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 10 K:

>

>

||:

   

>

   

>

   

>

   

  


Concept 10 L:

>

>

||:

   

>

   

>

   

>

   



:||

  


































Symbols:









In Concepts 11A - 11L, you must change your foot beat. First, you tap the exercise in 5/8 time until comfortable. Then, you tap it in 10/16 by changing your foot beat from an eighth note to a sixteenth note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. Concept 11 A:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 11 B:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 11 C:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 11 D:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 11 E:

>

>

||:

   

>

   

>

   

>

   

  


Concept 11 F:

>

>

||:

   

>

   

>

   

>

   



:||

  

Concept 11 G:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 11 H:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 11 I:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 11 J:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 11 K:

>

>

||:

   

>

   

>

   

>

   

  


Concept 11 L:

>

>

||:

   

>

   

>

   

>

   



:||

  




















- When one finger lands on the the table, lift the next finger at precisely the same moment






Phase Two of a Professional Preparatory Finger Finger Training Method That Incorporates a Rhythmical Sub-Division Skill Builder For Any Instrument Requiring The Left and Right Hand


LESSON #12 SPECIAL INSTRUCTION: INSTRUCTION:


Finger Motion Style One: Repeat Repeat 3 Times Times for each each concept concept::

(Slow Tempo Tempo ) Secure Secure the finger finger tappin tapping g pattern pattern first first and then layer in the foot beat and lastly the accents as your abilities allow.



Symbols:

( Extremely Extremely Slow Slow Tempo Tempo ) Concentrate only on the lifting and placing of the finger switches in each concept exercise. Do Not incorporate the foot beats or accents. ( Aim For Speed ) Concentrate only on the small, light movements of the finger switches with minimal movement from the fingers not in use. Do try to incorporate foot beats but Do Not add accents. Work for speed and lightness of touch.






- Foot Lifts Up and Strikes the Imaginary Ceiling Ceiling

Tap Louder ) > - Accent ( Make Finger Tap


In Concepts 12A - 12L, you you must change your foot beat. beat. First, you tap the exercise in 6/4 time until comfortable. Then, you tap it in 12/8 by changing your foot beat from a quarter note to an eighth note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. page. Concept 12 A:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 12 B:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   




Concept 12 C:

a >

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 12 D:

>

>

||:

   

>

   

>

   

>

   

>

   



:||



:||

  

Concept 12 E:

>

>

||:

   

>

   

>

   

>

   

>

   

  


Concept 12 F: a

>

>

>

>

>

>

a

||:

   

   

   

   

   



:||

  

a

Concept 12 G:

>

>

>

>

>

>

a

||:   

   

   

   

   

:||

   



Concept 12 H:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   




Concept 12 I: a

>

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 12 J:

a >

>

>

>

>

>

a

||:

   

   

   

   

   



:||



:||

  

Concept 12 K:

a >

>

>

>

>

>

a

||:

   

   

   

   

   

  


Concept 12 L:

a >

>

>

>

>

>

a

||:

   

   

   

   

   



:||

  


































Symbols:









In Concepts 13A - 13L, you must change your foot beat. First, you tap the exercise in 5/4 time until comfortable. Then, you tap it in 10/8 by changing your foot beat from a quarter note to an eighth note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. Concept 13A:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 13B:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 13C:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 13D:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 13E:

>

>

||:

   

>

   

>

   

>

   

  


Concept 13F:

>

>

||:

   

>

   

>

   

>

   



:||

  

Concept 13G:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 13H:

>

>

||:   

>

   

>

   

>

   

:||

   




Concept 13I:

>

>

||:   

>

   

>

   

>

   

:||

   



Concept 13J:

>

>

||:

   

>

   

>

   

>

   



:||



:||

  

Concept 13K:

>

>

||:

   

>

   

>

   

>

   

  


Concept 13L:

>

>

||:

   

>

   

>

   

>

   



:||

  


































Symbols:









In Concepts 14A - 14L, you must change your foot beat. First, you tap the exercise in 6/2 time until comfortable. Then, you tap it in 12/4 by changing your foot beat from a half note to a quarter note. Unlike Lessons 7 and 8, your foot beat in Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even. Follow the foot beat instructions from the sample on the previous page. Concept 14 A:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 14 B:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   




Concept 14 C:

a >

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 14 D:

>

>

||:

   

>

   

>

   

>

   

>

   



:||



:||

  

Concept 14E:

>

>

||:

   

>

   

>

   

>

   

>

   

  


Concept 14 F: a

>

>

>

>

>

>

a

||:

   

   

   

   

   



:||

  

a

Concept 14 G:

>

>

>

>

>

>

a

||:   

   

   

   

   

:||

   



Concept 14 H:

>

>

||:   

>

   

>

   

>

   

>

   

:||

   




Concept 14 I: a

>

>

||:   

>

   

>

   

>

   

>

   

:||

   



Concept 14 J:

a >

>

>

>

>

>

a

||:

   

   

   

   

   



:||



:||

  

Concept 14 K:

a >

>

>

>

>

>

a

||:

   

   

   

   

   

  


Concept 14 L:

a >

>

>

>

>

>

a

||:

   

   

   

   

   



:||

  




























LESSON #15 SPECIAL INSTRUCTION: Finger Motion Style One:


(Slow Tempo ) Tap finger patterns using ONLY Finger Motion Style One. Secure the finger tapping pattern first and then layer in the foot beat and lastly the accents as your abilities allow.

The finger tapping patterns in Lessons 15 and 16 are very difficult. My goal in these lessons is to begin the transition into Book Three - “Ultimate Rhythm” so there is less emphasis on finger style and more focus on beat shifting. Practice each concept with Finger Motion Style One ONLY and direct most of your concentration to the changing foot beat and how it affects the “feel” of the patterns. The three foot beats to be used goes as follows: Three Varied Foot Beats With Accents:

#1 - Use an Eighth Note Beat ( repeat 3 times for each concept ) #2 - Use a Quarter Note Beat ( repeat 3 times for each concept ) #3 - Use a Dotted Quarter Note Beat ( repeat 3 times for each concept )

Symbols:







> - Accent ( Make Finger Tap Louder But Not The Foot Beat ) Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

1

2

3

4

>

3)

6/8 6/8

ax

5

6

>

                      > 1

> +

2

+

3

+

4

+

5

+

6

+

Beat foot to a dotted quarter note beat. Both lines in 6/8 time, Accents every dotted quarter note Repeat this 3 times. ( Notice that the down and up movements of the foot along with the tapped eighth note line creates a 2 against 3 pattern )

[ Remember to Layer Your Learning ]

In Concepts 15 A - 15 L, you must change your foot beat. First you tap the exercise in 6/8 time using an eighth note beat. Next, you will change your foot beat to a quarter note which means that the eighth notes you tap are in 3/4 time and the sixteenth notes tapped remain in 6/8 time but abide by the accents of the 3/4 time. (The exercises takes on a duel personality ). When in two different time signatures, you will need to count out loud in 3/4 time while finger tapping and foot beating, then repeat the exercise while counting in 6/8. Observe the two meters happening simultaneously. It is nearly impossible to think the counting in both time signatures simultaneously. Lastly, you will tap using a dotted quarter note foot beat in 6/8 t ime. Make sure your tapping stays steady and even. Follow the samples on the previous page.


Concept 15A-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 

Eighth Note Foot Beat

a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 15A-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 

Quarter Note Foot Beat

a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+


Concept 15A-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 





Dotted Quarter Note Foot Beat

a

> 1

+

2

+

3

> + 4

+

5

+

6

+

Concept 15B-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

+

> 2

+

> 3

+

> 4

+

> 5

+

> 6

+


Concept 15B-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+

Concept 15B-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+


Concept 15C-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 15C-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5 +

6

+


Concept 15C-Three

a 1 >

2

4 >

5

6

   :||     6/8 ||:             :|| 6/8

||: 

3






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+

Concept 15D-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

sa 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 15D-Two

1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:            

 3/4 ||: 

 

 

 

 

 

:|| Quarter Note Foot Beat

:||

a

> 1

> 2

+

> 3

+

+

Concept 15D-Three 1 >

+

2

+

3

+

4 + >

5

+

6

+

a 6/8

||:            

 6/8 ||: 

 



 





> 4

5

6

:||




:||

a

> 1

2

3


Concept 15E-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:            

                 6/8 ||: 

:|| Eighth Note Foot Beat

:||

a

> 1

> 2

> 3

> 4

> 5

> 6

Concept 15E-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

+

> 2

+

> 3

+


Concept 15E-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 








:||

a

> 1

2

> 4

3

5

6

Concept 15F-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 15F-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

> 2

+

> 3

+

+

Concept 15F-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 

 




:||

a

> 1

2

3

> 4

5

6


Concept 15G-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 15G-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+


Concept 15G-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

> + 4

+

5

+

6

+

Concept 15H-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

+

> 2

+

> 3

+

> 4

+

> 5

+

> 6

+


Concept 15H-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+

Concept 15H-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+


Concept 15I-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 15I-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5 +

6

+


Concept 15I-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+

Concept 15J-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

sa 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 15J-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:            

 3/4 ||: 

 

 

 

 

 

> 3

+


:||

a

> 1

> 2

+

+

Concept 15J-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:            

 6/8 ||: 

 



 





3

> 4

5

6

:||




:||

a

> 1

2


Concept 15K-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:            

                 6/8 ||: 


:||

a

> 1

> 2

> 3

> 4

> 5

> 6

Concept 15K-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

+

> 2

+

> 3

+


Concept 15K-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 








:||

a

> 1

2

> 4

3

5

6

Concept 15L-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 15L-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

> 2

+

> 3

+

+

Concept 15L-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 

 




:||

a

> 1

2

3

> 4

5

6


FINGER MOTION STYLE ONE “Finger Pounding” - Arms, wrists hands suspended 2" above table - Fingers arched slightly, palms face down - All fingers remain in the air except for the finger(s) that are moving - Large, slow movements only from knuckle where finger meets the hand ( the hinge ) - Finger “pounds” the table audibly - One finger remains on the table at all times only lifting it when the next finger takes its place






LESSON #16 SPECIAL INSTRUCTION: Finger Motion Style One:


(Slow Tempo ) Tap finger patterns using ONLY Finger Motion Style One. Secure the finger tapping pattern first and then layer in the foot beat and lastly the accents as your abilities allow.

The finger tapping patterns in Lesson 16 are very difficult. My goal in this lesson is to begin the transition into Book Three “Ultimate Rhythm” so there is less emphasis on finger style and more focus on beat shifting. Practice each concept with Finger Motion Style One ONLY and direct most of your concentration to the changing foot beat and how it affects the “feel” of the patterns. The three foot beats to be used goes as follows: Three Varied Foot Beats With Accents:

#1 - Use an Eighth Note Beat ( repeat 3 times for each concept ) #2 - Use a Quarter Note Beat ( repeat 3 times for each concept ) #3 - Use a Dotted Quarter Note Beat ( repeat 3 times for each concept )

Symbols:







> - Accent ( Make Finger Tap Louder But Not The Foot Beat ) Copyright © 2009 MagicMusicianFingers The Or ósz Technique All Rights Reserved You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

1

2

3

4

>

3)

6/8 6/8

ax

5

6

>

                      > 1

> +

2

+

3

+

4

+

5

+

6

+

Beat foot to a dotted quarter note beat. Both lines in 6/8 time, Accents every dotted quarter note Repeat this 3 times. ( Notice that the down and up movements of the foot along with the tapped eighth note line creates a 2 against 3 pattern )

[ Remember to Layer Your Learning ]

In Concepts 16 A - 16 L, you must change your foot beat. First you tap the exercise in 6/8 time using an eighth note beat. Next, you will change your foot beat to a quarter note which means that the eighth notes you tap are in 3/4 time and the sixteenth notes tapped remain in 6/8 time but abide by the accents of the 3/4 time. (The exercises takes on a duel personality ). When in two different time signatures, you will need to count out loud in 3/4 time while finger tapping and foot beating, then repeat the exercise while counting in 6/8. Observe the two meters happening simultaneously. It is nearly impossible to think the counting in both time signatures simultaneously. Lastly, you will tap using a dotted quarter note foot beat in 6/8 t ime. Make sure your tapping stays steady and even. Follow the samples on the previous page.


Concept 16A-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 16A-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+


Concept 16A-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

> + 4

+

5

+

6

+

Concept 16B-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

+

> 2

+

> 3

+

> 4

+

> 5

+

> 6

+


Concept 16B-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+

Concept 16B-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+


Concept 16C-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 16C-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5 +

6

+


Concept 16C-Three

a 1 >

2

4 >

5

6

   :||     6/8 ||:             :|| 6/8

||: 

3






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+

Concept 16D-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

sa 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 16D-Two

1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:            

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

> 2

+

> 3

+

+

Concept 16D-Three 1 >

+

2

+

3

+

4 + >

5

+

6

+

a 6/8

||:            

 6/8 ||: 

 



 





> 4

5

6

:||




:||

a

> 1

2

3


Concept 16E-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:            

                 6/8 ||: 


:||

a

> 1

> 2

> 3

> 4

> 5

> 6

Concept 16E-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

+

> 2

+

> 3

+


Concept 16E-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 








:||

a

> 1

2

> 4

3

5

6

Concept 16F-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 16F-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

> 2

+

> 3

+

+

Concept 16F-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 

 




:||

a

> 1

2

3

> 4

5

6


Concept 16G-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 16G-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+


Concept 16G-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

> + 4

+

5

+

6

+

Concept 16H-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

+

> 2

+

> 3

+

> 4

+

> 5

+

> 6

+


Concept 16H-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5

+

6

+

Concept 16H-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+


Concept 16I-One 1 >

2 >

3 >

4 >

5 >

6 >

a      :||             6/8 ||:             :|| 6/8

||: 


a

> 1

> 2

+

+

> 3

+

> 4

+

> 5

+

> 6

+

Concept 16I-Two 1 >

+

2 >

+

3 >

+

a      :||       6/8 ||:             :|| 3/4

||: 


a

> 1

+

2

+

> 3

+

4

+

> 5 +

6

+


Concept 16I-Three 1 >

2

3

4 >

5

6

a    :||     6/8 ||:             :|| 6/8

||: 






a

> 1

+

2

+

3

+

> 4 +

5

+

6

+

Concept 16J-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

sa 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 16J-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:            

 3/4 ||: 

 

 

 

 

 

> 3

+


:||

a

> 1

> 2

+

+

Concept 16J-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:            

 6/8 ||: 

 



 





3

> 4

5

6

:||




:||

a

> 1

2


Concept 16K-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:            

                 6/8 ||: 


:||

a

> 1

> 2

> 3

> 4

> 5

> 6

Concept 16K-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

+

> 2

+

> 3

+


Concept 16K-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 








:||

a

> 1

2

> 4

3

5

6

Concept 16L-One 1 >

+

2 >

+

3 + >

4 >

+

5 >

+

6 + >

a 6/8

||:             :||

            6/8 ||:      


:||

a

> 1

> 2

> 3

> 4

> 5

> 6


Concept 16L-Two 1 >

+

2

+

3 + >

4

+

5 >

+

6

+

a 6/8

||:             :||

 3/4 ||: 

 

 

 

 

 


:||

a

> 1

> 2

+

> 3

+

+

Concept 16L-Three 1 >

+

2

+

3

+

4 >

+

5

+

6

+

a 6/8

||:             :||

 6/8 ||: 

 



 

 




:||

a

> 1

2

3

> 4

5

6


Musicians Finger Exercices - Jules Oroz

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