Finger Dexterity Quotes

The thing for someone just starting off [in writing] is to write. You need to have limber fingers, whether you write with your fingers or you type on your laptop, but you need to have a limber mind and you need to be able to write without judging what you've written, at least right away, and without editing right away.

When you watch your favorite guitarists play, notice how little their hands and fingers move sometimes. The economy of motion can't be overemphasized.

I practice more than ever ... mostly scales and arpeggios ... and anything I can't do.

The way I play guitar is very, very hard and I bloody myself incredibly without the tape. And the nails are my picks.

Basic anatomy. That has got to be the ongoing frustration: Why can't my fingers do what I want them to do? Not being able to play what I hear in my head - that is the ultimate source of frustration.

The Germans wit is in his fingers.

A lot of blues guitarists play with only three fingers, and they can't figure out certain runs that require the use of their little fingers. Classical training is good for that.

You should diligently play scales and fingerpractices. There are many, however, who believe they'll achieve all, by practicing daily on technique for hours on end, up till high age. It's like practicing every day to enumerate the alfabet faster and faster. One would think one could make better use of their valuable time.

I'm too busy playing to worry about the movement or the fingerboard.

Once in a while, the thumb that fits over the neck of the guitar kinda bothers me a little bit, but not that much yet. I figure in time I won't do much because of my age.

Even though I'll do finger warm-ups that go up and down the neck to build up my chops and dexterity, I never, ever sit around and practice the actual licks I'm gonna play live. If you do, then you'll be all worried about the complexity of getting the fingering right and everything else about it, as opposed to the feel.

About the only other thing I'd want would be a wider neck. My fingers are so fat that sometimes I deaden the string next to the one I'm fretting.

I don't believe that heavy strings make it all that much bigger-sounding. If anything, it can mess up your fingers, and you can get tendonitis, which is not cool.

I had always felt that mittens were a few steps back on the evolutionary scale-- why, I wondered, would we want to make ourselves into a less agile version of lobster.

When I'm in my normal mood, music drips from my fingers.

I was so used to doing old blues licks with the first three fingers. When I started using my pinky and finding more spread things, that's when I started getting my own style.

It's a balance between getting the right string gauge that's thick enough where it sound good, and not rubber bands - but not too thick where your hands start to get real tired.

We should learn to think with our fingers.

As for the piano, the faster her fingers flew over it, the more he marveled. She struck the keys with aplomb and ran from one end of the keyboard to the other without a stop.

I am trying to build the biggest callus possible on my first finger so I can do one-finger bends and vibrato like B.B. King.

The fingers must be educated, the thumb is born knowing.

I did play a lot of fingerstyle when I first started playing. I could never really find the right combination of flatpick or fingerpick, so playing fingerstyle is really the easiest way - though it's quite strenuous on the fingertips.

The music I listened to when I was a kid was Sonny Boy Williams and Pinetop Perkins. He was the one who had the most influence on my playing. I saw him through a window playing piano and I thought it was unbelievable somebody could move their fingers that fast. And this is how I got interested in piano.

When you work at a microscopic level, you have to control every part of your body movement - your fingertips, your joints, the pulse in your fingers.

If you type adeptly with 10 fingers, you're typing faster than your mind is working.