However, the technique has a lot of problems: This is useful for situations where the high notes need to be trilled or otherwise played quickly. I strongly recommend keeping them bent so they remain close to their holes and have less distance to move when returning to a lower note. While doing this, there is a tendency to extend the remaining two fingers vertically upwards. Whenever you intend to play a high note, slip the right ring and pinky finger around the tail well in advance. In the palm grip, the entire weight of the ocarina is taken by the right hand, which allows the right thumb to be removed. The palm grip is a technique which can work around this. However, it does have one con: it can limit the playing speed of the right thumb hole. It keeps the centre of support relatively constant. It permits leaping between high and low notes. It keeps all fingers close to their respective holes. It distributes ocarina weight over both hands so works effectively with larger ocarinas. It maintains the right thumb, the strongest finger, as the main support point. The 3 point grip shown previously has a lot of advantages: Wide leaps tend to crop up between phrases it's usually a good idea to staccato tongue the transition. I recommend practising with a tuner until you get used to it. Making leaps this wide also requires a large change in breath pressure. At the same time as you slide the finger off the cappello, you must also slide the left pinky finger onto the tail and roll off the right thumb. The sliding technique described before can be used to leap between the highest and lowest notes. Leaping between the ocarinas highest and lowest notes
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