Finger precision and coordination problems

[VKat]

Another thing I want to mention is that I'm struggling with stretches on guitar and that may contribute to the overall problem. I have rather small hands:
- my pinky is only 8 cm (3.15")
- my hand span from the tip of the thumb to the tip of the pinky is 1 octave on a standard piano keyboard fully stretched.
Some say they can do more on a "good day" but I'd say I cannot stretch for a 9th on a good day.

[goldenwave77]

I don't know how many amateur guitarists like me are able to play successfully "by ear". Is that a common skill among non-professionals? I noticed watching YT videos that even many professional jazz musicians watch the frefboard intensely.

Watch Joe DiOrio play---he's not looking at the fingerboard---he's almost in a trance.

Watch George Benson play- esp. if he's scatting or singing along with his lines.

Watch Carlos Santana play...he's in the moment---in his mind.

Watch Rich Severson...clearly listening to his lines as he is playing them. Very fluid and seamless in his playing, IMO.

IMO, anybody who is watching the fingerboard as they play is sabotaging themselves. It's like trying to bowl or doing any sporting motion---you can't do it if you're thinking...OK, line up between the 4th and 5th arrow....let's start the arm swinging back...now let's see---is it 4 or 5 steps to the foul line before I release...arm comes down and remember to release the ball...you'll never break 150 doing that. Looking at the fingerboard is just unnecessary visual "noise"---a glance here and there to orient yourself is OK, though.

I was a pretty good schoolboy b-ball player until I stopped growing in 9th grade, but I averaged almost 20 ppg., was an MVP, shot almost 80% from the line, and we almost beat Julius Erving's school in the neighboring town . I drilled myself on shooting jump shots, starting off 2 feet from the basket, learning to raise the ball, working on wrist snap at first, and getting rotation...I sat down in a chair at first, then added in, ankle and leg action (the real key to shooting well---it's why players shoot bricks at the end of the game, as their legs tire). When I got make ten in a row in, I would take a step back...build confidence and rhythm, maybe as the distance increased I wouldn't be so demanding....always working on rhythm in the shot, because that is the key to shooting well...having a repeating and repeatable stroke...same thing with a golf swing---that's more complicated, and you can't groove it to the same degree (Unless your name is Ben Hogan, and even he said out of 36 full swings, probably only 3-4 in a round, were perfect and resulted in flushing the ball). My models were the pro players on TV---and most great shooters share a lot of commonality in what they do....once in a while there is a guy who is good but unorthodox (Bob McAdoo).

Anyway, my point is ....you did all the hard work...in your practice sessions...mostly in solitary sessions. Toss the ball with back spin so it bounces back to your hands---which replicates receiving a pass....work on receiving the ball with your legs crouched (watch Ray Allen on this), and shoot....over and over....till you develop a groove...eventually it becomes 2nd nature---like Bird saying "learn the scales, and then forget them"....which really meant "learn them well enough...so that they are 'in your fingers" and then step out to play. If, like a good athlete, you know you've done your preparation---you should be able to repeat and perform under pressure. Both Ben Hogan and Jack Nicklaus played well under pressure...Hogan said when he really loose and warmed up--he felt more consistent "going for" his shots---a wonderful recipe for "choke proof" playing. Nicklaus' swing was so big, and fluid, he just got looser and more rhythmic, hitting that high power fade that just got stronger and softer under pressure, while other players were fighting snap hooks and weak pushes. Most of the real work on becoming a good shooter took place out of season.

Your mind, and your ear, can go "much faster" than telling your fingers "go here"..."now go there"....have a look at Jimmy Raney's masterclass at Louisville Univ. (?1) where he talks about working lines out (Bird's) with his fingers, almost unconsciously.

Anyway, sorry to get, seemingly, off track...but I think playing great jazz is like playing basketball or soccer...a lot of intense drill and skill development has to take place before you step onto the field or court. My son was a very good soccer player, and he told me that Pele said in his book, a minimum of 500 reps was needed to work on a new "move" in soccer--more like a 1000 before it became 2nd nature. Classical music performance is more like figure skating...where everything is worked out ahead of time...still interpretation and performance will never be exactly the same.

[goldenwave77]

Another thing I want to mention is that I'm struggling with stretches on guitar and that may contribute to the overall problem. I have rather small hands:
- my pinky is only 8 cm (3.15")
- my hand span from the tip of the thumb to the tip of the pinky is 1 octave on a standard piano keyboard fully stretched.
Some say they can do more on a "good day" but I'd say I cannot stretch for a 9th on a good day.

I'm 6'2", have 37 inch sleeves and do NOT have small hands. I just measured my pinky and from hand crease to end of digit, it is 2 and 3/4", so I'm not sure what you're talking about when you say you small hands. I can stretch and make a 5-fret stretch, fret 1-5 inclusive (F to A), on a long scale guitar (strat w/ 25.5) pretty easily, and can still go to the 6th fret (A #) to the middle of that fret, and get it to sound cleanly.

Besides, what do you think Django's stretch was, using 2 fingers, only?!

The classical stretching exercises, referred earlier to you, will help you with your stretch.

[VKat]

I'm 6'2", have 37 inch sleeves and do NOT have small hands. I just measured my pinky and from hand crease to end of digit, it is 2 and 3/4", so I'm not sure what you're talking about when you say you small hands. I can stretch and make a 5-fret stretch, fret 1-5 inclusive (F to A), on a long scale guitar (strat w/ 25.5) pretty easily, and can still go to the 6th fret (A #) to the middle of that fret, and get it to sound cleanly.

Besides, what do you think Django's stretch was, using 2 fingers, only?!

The classical stretching exercises, referred earlier to you, will help you with your stretch.

Oh, I mean from the major knucle(? - not sure what's the correct name) of the pinky to the tip. My hand span is only 21 cm fully open from the tip of the thumb to the tip of the pinky.
I know there are exceptions but I notice the most successful guitarists have rather long fingers.

Thanks for all your advice and comments - you took your time to deliver your point and I appreciate that a lot!
Interseting stories!

[Guitarzen]

I watch my hands quite a bit when I'm playing, but it's not because I am analyzing or thinking about what my hands are doing. I'm simply making sure all the shapes are right and I'm on the right fret. This is especially important when playing very difficult solo guitar arrangements which I do plenty of. Some of the shapes that I have to stick at fast speeds are very awkward, and keeping my eyes on my hands can assist in sticking them. Doing large leaps to different frets can also be sketchy without looking. Having said that, I can play my entire repertoire with my eyes closed, but slight miscalculations do happen from time to time. Monitoring what I am doing with my eyes helps avoid that. I approach playing my instrument not only from muscle memory, but also by sound and also by visual patterns. So I like to have my ears, eyes, and hands fully engaged in the process. The one thing that is not engaged during a performance is my intellect, which is what I meant by earlier comments. But in no way do you need to exclude using your eyes and pattern / shape recognition part of your brain.

[Frethack]

I have many of the same issues. That is what I love about this forum. So much great advice and conversation.

Nothing worse than plopping down next to an eight year old in a busy shop and watch him shred with me plinking, thudding, and plonking next to him until I get warmed up. I range from "who's hands are these" becuase I am definately not controlling them to "who's hands are these" because I just played a run of licks that turn a head or two. It has improved, but I will be following a few things mentioned here to move farther in a positive direction.

[monk]

I know there are exceptions but I notice the most successful guitarists have rather long fingers.

Check out Danny Gatton and Andres Segovia. Small hands, short chubby fingers.

[ColMc]

I wonder.
I have had a problem with tension in my arms and fingers most of my life with the guitar.
It drove me away to other instruments because my playing technique was totally unreliable.
I was a "neck choker" and would get so tense that I'd miss notes with the pick or pick them way too hard.
It wasn't until I started violin lessons and the constant admonitions to "drop the "shoulder"
that the penny started to drop.
The interesting thing is that if there is any tension in the body when playing the violin, it will come out in the music.

So since I have been back into the guitar, I have been working consciously to approach playing without tension.
And the more you try, the more you notice.

I always warm up by playing a slow scale across the neck concentrating on playing as lightly as possible.
When you apply pressure to the string as softly as you can, notice just how little effort is required to make the note fret cleanly.
In fact, that is your meditation.

[VKat]

Check out Danny Gatton and Andres Segovia. Small hands, short chubby fingers.

I don't mean to argue but I had the following observation. Once I watched Danny G. playing for the first time and I thought: stubby short fingers. Then when I watched his hands with more attention I got an impression that - 'yes' - stubby, but not quite short.
The same I think applies to Segovia but I can't go out and check his fingers' length for a number of reasons - whatever that means :-)
Also John Stowell claims he has small hands but when I watch him playing I say to myself: John, you haven't seen small hands!

[VKat]

Sure! Playing any instrument with tension is a bad thing. There must be some balance achieved between the tension and total relaxation.
I notice when I'm too relaxed I'm loosing control, well - when it's back after my notorious "warm-up"
It's easy to say someone: 'Don't tense up!' and quite difficult to follow that advice when it's addressed to yourself.

I wonder.
I have had a problem with tension in my arms and fingers most of my life with the guitar.
It drove me away to other instruments because my playing technique was totally unreliable.
I was a "neck choker" and would get so tense that I'd miss notes with the pick or pick them way too hard.
It wasn't until I started violin lessons and the constant admonitions to "drop the "shoulder"
that the penny started to drop.
The interesting thing is that if there is any tension in the body when playing the violin, it will come out in the music.

So since I have been back into the guitar, I have been working consciously to approach playing without tension.
And the more you try, the more you notice.

I always warm up by playing a slow scale across the neck concentrating on playing as lightly as possible.
When you apply pressure to the string as softly as you can, notice just how little effort is required to make the note fret cleanly.
In fact, that is your meditation.

[VKat]

I have many of the same issues. That is what I love about this forum. So much great advice and conversation.

Nothing worse than plopping down next to an eight year old in a busy shop and watch him shred with me plinking, thudding, and plonking next to him until I get warmed up. I range from "who's hands are these" becuase I am definately not controlling them to "who's hands are these" because I just played a run of licks that turn a head or two. It has improved, but I will be following a few things mentioned here to move farther in a positive direction.

Matt, I especially sympathize with you on the "8-year old" shredder next to you. Been there...

[destinytot]

I wonder.
I have had a problem with tension in my arms and fingers most of my life with the guitar.
It drove me away to other instruments because my playing technique was totally unreliable.
I was a "neck choker" and would get so tense that I'd miss notes with the pick or pick them way too hard.
It wasn't until I started violin lessons and the constant admonitions to "drop the "shoulder"
that the penny started to drop.
The interesting thing is that if there is any tension in the body when playing the violin, it will come out in the music.

So since I have been back into the guitar, I have been working consciously to approach playing without tension.
And the more you try, the more you notice.

I always warm up by playing a slow scale across the neck concentrating on playing as lightly as possible.
When you apply pressure to the string as softly as you can, notice just how little effort is required to make the note fret cleanly.
In fact, that is your meditation.

Thank you!

[goldenwave77]

I wonder.
I have had a problem with tension in my arms and fingers most of my life with the guitar.
It drove me away to other instruments because my playing technique was totally unreliable.
I was a "neck choker" and would get so tense that I'd miss notes with the pick or pick them way too hard.
It wasn't until I started violin lessons and the constant admonitions to "drop the "shoulder"
that the penny started to drop.
The interesting thing is that if there is any tension in the body when playing the violin, it will come out in the music.


I always warm up by playing a slow scale across the neck concentrating on playing as lightly as possible.
When you apply pressure to the string as softly as you can, notice just how little effort is required to make the note fret cleanly.
In fact, that is your meditation.

RE: tension in playing

I went through a pd. a while back where I thought I might be pressing too hard, and worried about my intonation.

How many of us had a teacher who said, when we were starting out, "press firmly so the strings don't buzz". I was playing a crummy acoustic then with high action.

I recently got back my acoustic archy (floating pu) from my gtr tech./luthier and it was well set up. Something made me think about my old gtr teacher (when I tried to play for 6 mos. as a 12 yr. old, and gave up) and his telling me to press firmly. As I was playing, I thought about pressing firmly...not having the string buzz....and I tried to press the string down to see if I could make it buzz....Guess What?!....Couldn't do it....it was like an off/on switch---either you were fretting and sounding the note, or not getting any sound at all.

A little bit of experimentation, and observation followed.

Conclusion: With a properly adjusted guitar, it is almost impossible to press "too lightly"....now put this principle into action....imagine your fingers flying over the fingerbd. just touching the string ever so lightly....and then watch your playing get faster, with better fluidity and better intonation.

[rictroll]

The recent post with the link to Tim Miller's video on legato playing includes some wise advice that may help.

[EarlBrother]

Hi VKat same observation.I watched many of these videos and concentrated on their hand size.The only guy so far with small hands is the incredible Jimmy Bruno.My younger Brothers fingers are sausages but fairly long as opposed to mine and he is a great player.Then again it kills me when i see these little girls on a full size classical with tiny hands and i ask How!!!I know practice but it still defies physics.E

[ColMc]

Sure! Playing any instrument with tension is a bad thing. There must be some balance achieved between the tension and total relaxation.
I notice when I'm too relaxed I'm loosing control, well - when it's back after my notorious "warm-up"
It's easy to say someone: 'Don't tense up!' and quite difficult to follow that advice when it's addressed to yourself.

Yes it is difficult to apply it after all those years of playing with tension.
That is why it is imperative that each session is started with the light pressure approach.
My violin teacher, a Julliard graduate, said that in order to correct a bad playing habit, you must play
whatever is the problem piece more times right than you did wrong.
So it won't happen overnight but unless you start somewhere nothing will change.
Eventually you will get it right.
Be persistent and good luck.

[VKat]

I know what you mean - of course that should be the goal. However - my problem is I usually can't play without buzz on guitar, especially on the bass strings, especialy on the low E.
My light touch doesn't help me much. (wow, that's a poetry!).

By the way, you of course know that when you play violin you don't have to actualy 'fret' a note? That's of course an improper term for violin because there are no frets (unless it's a fretted version) but I used it only for better illustration.

So, in violin playing you only have to 'stop' the string at a certain distance from the bridge and there is no need to push the string all the way down to the fingerboard. In other words the violin sound is not impoved when you push so hard that the actual contact with the fingerboard is made.
A good violin teacher even will warn you about that and will make it clear: 'Don't push the string all the way down to the fingerboard!'

Watch this for good explanation:

Why do I mention this? -Because you see now that the actual playing technique for the left hand on violin and guitar comes from the different principles of sound production.
What makes them similar is: 'Press only hard enough to...' - and then they part.

It's interesting that those who never played violin may think: 'No actual contact of the string with the fingerboard - how come?'. Easy! Watch the Chinese Erhu, the violin sister and you will see - there is no fingerboard at all!

Erhu:
Instruction:

Performance:

How hard should you 'touch' the Erhu strings to make it sing?

Yes it is difficult to apply it after all those years of playing with tension.
That is why it is imperative that each session is started with the light pressure approach.
My violin teacher, a Julliard graduate, said that in order to correct a bad playing habit, you must play
whatever is the problem piece more times right than you did wrong.
So it won't happen overnight but unless you start somewhere nothing will change.
Eventually you will get it right.
Be persistent and good luck.

[VKat]

Good to know you see that as well.

Regarding the general idea about long fingers vs short fingers on guitar and why the argument 'Watch that guy with his short fingers shredding like mad' is not convincing:

- I didn't mean to say that long fingers will automatically make any person a good guiatrist. No! I'm sure there are many guys with long fingers who... suck on guitar (sorry for the vulgar term, that's the best close I know in English).
- There are also some guys with short fingers who can shred like mad.

However if we take two guys, one with long fingers and another with short fingers with all other things in them being equal (that's really impossible, but let's imagine that) - the one with long fingers will make more progress.

For instance, I can't fret the low E with my thumb over and play any note on the treble strings with my fingers at the same time on even the Strat with a thin neck. It's impossible for my hand size.

Hi VKat same observation.I watched many of these videos and concentrated on their hand size.The only guy so far with small hands is the incredible Jimmy Bruno.My younger Brothers fingers are sausages but fairly long as opposed to mine and he is a great player.Then again it kills me when i see these little girls on a full size classical with tiny hands and i ask How!!!I know practice but it still defies physics.E

[ColMc]

"So, in violin playing you only have to 'stop' the string at a certain distance from the bridge and there is no need to push the string all the way down to the fingerboard. In other words the violin sound is not impoved when you push so hard that the actual contact with the fingerboard is made.
A good violin teacher even will warn you about that and will make it clear: 'Don't push the string all the way down to the fingerboard!' "

OK. Well thats enough from me. I'm outta here.

[VKat]

Wait, wait, wait - is there something wrong with what I say? Maybe I need to be corrected but not neglected. Feel free to comment to improve the terminology.

Wasn't the video of William convincing?

Have you watched the video? Prof. Fitzpatrick clearly demonstates that his finger is not all the way down to the violin fingerboard. Do you have any doubts?

If so - you should question the Julliard educational procedures because Prof. Fitzpatrick studied at Julliard just like you. Anything changed since then in the violin playing method?

"So, in violin playing you only have to 'stop' the string at a certain distance from the bridge and there is no need to push the string all the way down to the fingerboard. In other words the violin sound is not impoved when you push so hard that the actual contact with the fingerboard is made.
A good violin teacher even will warn you about that and will make it clear: 'Don't push the string all the way down to the fingerboard!' "

OK. Well thats enough from me. I'm outta here.

[ecj]

This finger/hand-size thing is a pointless distraction. There are tons of great guitarists with tiny little sausage fingers.

It's also important to remember that you can't play "without tension". Muscle tension is required to create all of the sounds that we create. That's why "RELAX!" is such a crappy teaching cue. What you have to do is learn how to use only as much tension as you need.

I highly recommend starting from picking on open strings, then gradually introducing the left hand, working on using as little energy as possible to create a nice tone. You can't get rid of tension, but you can get rid of "excess tension".

I would also imagine that a lot of problems are rooted in not having a clear goal in mind in terms of playing and hand position and motions. Do you know what you're trying to achieve and do it the same each time?

[Jonah]

In your situation you should try a good teacher... but a really good one... not the one who gives master-class to intermidiate or advanced players.. but the one who has experience and program for step by step teaching under his guide...

Forum might help too... but individual approach to your certain problems may give results faster.
Of course if the problem can be solved this way...


And... you mentioned that you practices for 10 years at leats an hour (sometimes 2 or more) a day... then you said you spend sometimes 30-40 min on playing scales to warm up... and as I could understand it takes quite great efforts and concentraion from you...
May I ask two questions:
1) How do you feel about playing songs? Do you practice them like excersise..? or after this warming up process you just get into them smoothely and play for fun? What problems do you have playing songs?
2) Do you have fun when you're playing your warming-up stuff? I mean - for example - during a hard day you think about guitar that you can pick up in the evening - what do you think about? the plan to warm-up you have, or some scales, or you think just abut some song you will play?

These questions are not to catch you on the contrary this is probably for myself to make more clear your situation... 10 years is long term and considering all the efforts you take it might be important to understant what keeps you going on...

Thank you

[VKat]

1) How do you feel about playing songs? Do you practice them like excersise..? or after this warming up process you just get into them smoothely and play for fun? What problems do you have playing songs?
2) Do you have fun when you're playing your warming-up stuff? I mean - for example - during a hard day you think about guitar that you can pick up in the evening - what do you think about? the plan to warm-up you have, or some scales, or you think just abut some song you will play?

Here are the answers:

I only occasionally learn and play songs and then forget about them - not because I don't like play songs but just because if I learn a head that's all I can do about it. Well, I can learn the chord progression as well but when I try to proceed to the chord-melody part, I feel that I don't have enough "chops" to play it smoothly and I return to practicing chords and scales.
I usually play guitar late at night when I'm tired and in that condition I'm unable to concentrate on learning form sheet music - I can only speculate on what I already know: for instance invent licks, make up chord progressions from the chords I know well and so on.
If I wanted to learn the repertoire I'd have to allocate for that some time earlier in the day but that's not possible for me at the moment.

Regarding fun with guitar: when I'm less tired and don't make many mistakes I have fun playing guitar regardless of what I'm doing, even 1-2-3-4. On the contrary, when I'm tired and I'm unable to concentrate well and just because I'm tired and being in a bad mood I have less fun. If my playing that night goes nowhere I have no fun at all. I have frustration instead. If for some reason my playing "switches on" which happens sometimes I feel satisfaction.

I never think of what I'll play in the evening because if I think about that it will ruin my approach to life in general and guitar playing in particular. I'm a very inconsistent man. I am always in two minds.
As they say, 'My mind changes as a spring weather'.
I often change my opinion and my decisions. Sometimes I drive people mad: today I say one thing and tomorrow another thing. Not because I'm a lier but because that's how my mind is organized.

Having said that, you can see that I'm pretty consistent in my persistent approach to learning guitar. Because if you read my self-description you might think that today I play guitar and tomorrow another instrument and then another one. No - I'm very consistent in my inconsistent approach to my practice sessions.

[grahambop]

So, in violin playing you only have to 'stop' the string at a certain distance from the bridge and there is no need to push the string all the way down to the fingerboard. In other words the violin sound is not impoved when you push so hard that the actual contact with the fingerboard is made.
A good violin teacher even will warn you about that and will make it clear: 'Don't push the string all the way down to the fingerboard!'

To a guitarist this doesn't seem right, but it appears there is some truth in it. I suppose you are constantly putting energy into the string with the bow, so it doesn't need a 'hard' end point, unlike the guitar, where the string is freely vibrating. I'm not sure you would 'never' push it all the way down. E.g. I found this advice: 'The general rule about left hand finger pressure is to use as little pressure as necessary to get the tone you want in pitch and color. That may mean that at times, especially in the higher positions, you don't have to press the string all the way down to the fingerboard. At other times it may mean that you do press the string down to the fingerboard.'
String Height and Finger Pressure. - The Fingerboard - Maestronet Forums

My wife plays the violin (she did the ABRSM grades when she was at school) and she had never heard of this. She tried it out just now, and while the upper notes still sounded, they were not as full as when she pressed right down. On the lower notes, it didn't work very well. But then she has never practised this approach, so it may take some getting used to.

[Jonah]

Thank for your answer...

First I think you have to cinsult an expereinced teacher personally - on forum no-one sees you.

I think actually we are very much the same in concen of .. well ...character type.. of maybe it's neurology... I would say I have always very sensuous in reaction... for friends I often compare myself with a dog who knows nothing and just smell it and follows and finds... fo course there's lots of reasoning in beween and work I believe but the revelation comes when I smell i and follow it))) In ealy days I tried to fix it somehow but later I got it that it is just the way I am

My conditions are approx the same now I have a few major interests and try spend enough time for each to satisfy myself with results.. I also have to do it very tired late in the night... I also feel frustration at times - tipical depressive maniac where imspiration quickly changes for despair.. so I can understand your feelings

I got soem rules for myself though: I have day-time job, three small kids and few diverse but deep interests - so one of the rule: whenever I have a free time I should always know what to do.. it does not always work I cannot force myself but it does when it's needed... I just learnt to switch it on/off... I just switch on 'jazz' and begin to play like from the place I quit last time...
And I noticed that it is peraonality that makes things common- so with time absolutely different interests becom interconnected,... becasue there's always one me behind it

But as I see from your explanation we have difference: I have musical backgroung in guitar from being a small kid - mostly in classical music... so many things for me are just natural as speech I have only to adopt it to jazz... and I have always been quite quick in learning...
The other point I play only songs.. if I practice scale or licks I practice it being involved in the song.. I find fun it but real fun is playing music.. not practicing...
But as I said I played from chialdhood so many techincal stuff are just behind now...

I do not know you personally but just as suggestion - excuse me if I go too far in my suggestions:
- however spontaneous you are - as I said I can understand this - you should have some understanding of what you are doing it for, that will give you more or less clear understanding of what you need to have.. may be practice things you do not need - who knows?
If you cannot understand all you can d is keep going like this... it is never too late for break-through... your way...

- Practicing: in classical music they usually take 3 pieces per half-year: one technical etude, one sonata or later homophonic piece, and one polyphonic piece... it may differ but idea is the same...


When I had lute master-class with Xavier Diaz -Lattore I played pretty simple arpeggiato Prelude by Weisse - when the first lesson was he said that I played well - I asked if we should continue with it next time? And he said: 'we can work a months with first four bars... it is not that you play it wrong but there is always something to work with... and you can do it using this piece'

The idea is that you choose a piece or set of piece to practice and it is important to practice common things for the style for the instrument... you do not practice every next piece you play.. you choose another one that you find containing new challenges - but while practicing with it.. next day you can play (not practice) just play ten other pieces..

From yur posts I did not really understand what exactly you want to achieve... you want take up guitar and play any scale up/down fluently? you want to noodle through improvized changes? you want to play through certain song?

I often change my opinion and my decisions. Sometimes I drive people mad: today I say one thing and tomorrow another thing. Not because I'm a lier but because that's how my mind is organized.

'Once a great Leo Tolstoy recieved young righter Maxim Gorky... they had breakfast and Tolstoy criticised a lot one actress ot poetress.. then the day passed... lots of things... and during the dinner someone again mention that actress.. and Tolstoy began to praise her... then youn Gorky said: Mr. Tolstoy it is not serious .. just this morning you said she was bad.. Tolstoy said: who do you thin I am, sir? A canary to sing the same tune all the time?'


People are often locked in words fixed notions just anothe rday in this forum one of the members practically demamnded from to make difinitions.. if I feel that I am wrong today do I have to lie? What for? To pretend consistent? And consistence in itself is a certain virtue?

So I would not worry about it - but I think you still have to find some balance for yourself how to handle things or you just go crazy with that one day...