10-26-11
2:45 AM - added bar 27 to the cello prelude. I took bars 24 - 27 with an aim to playing them fluently, trying to eliminate the pauses to remember, to compensate for a sluggish left hand. some useful information came out of this, such as a left hand tendency to 'dig in' when fretting, especially from release.
segued into some primary work for the hands. for the left, a 1-2-3-4 pattern, but with an open string between each note and across the 2nd, 3rd and 4th strings (80 BPM). noticed 'correcting' was hemming myself into old habits. for the right hand, some loosening up and a primary #1 drill at the same tempo.
Chris
Sunday, April 5, 2009
Sunday 4/5
60 Minutes
sixteenth note speed exercises, repertoire
Working to find the limit of my picking speed on a single string and across strings. I go by how accurate I am at gradually increasing BPM's. "Accuracy" includes:
time;
evenness of attack;
tone;
dynamic;
correct notes...
...along with how long and how easily I can maintain it. Noticing what my arm does when it gets stressed is also part of it. Right now, my frustration level with a single string is 80, and across strings is 66.
Once again, being able to access the quality of beginning rather than starting has been invaluable to me. Part of it is a notion of choice, andpart of it is an awareness of a larger present moment. As in, it's the same hand in the same moment when I'm not playing as when I'm playing.
Also went through some repertoire, including "Derailed", "Austurias", "Hope","Askesis", "Batrachomyomachy", and "Calliope".
60 Minutes
sixteenth note speed exercises, repertoire
Working to find the limit of my picking speed on a single string and across strings. I go by how accurate I am at gradually increasing BPM's. "Accuracy" includes:
time;
evenness of attack;
tone;
dynamic;
correct notes...
...along with how long and how easily I can maintain it. Noticing what my arm does when it gets stressed is also part of it. Right now, my frustration level with a single string is 80, and across strings is 66.
Once again, being able to access the quality of beginning rather than starting has been invaluable to me. Part of it is a notion of choice, andpart of it is an awareness of a larger present moment. As in, it's the same hand in the same moment when I'm not playing as when I'm playing.
Also went through some repertoire, including "Derailed", "Austurias", "Hope","Askesis", "Batrachomyomachy", and "Calliope".
Friday, April 3, 2009
Wednesday, April 1, 2009
Wednesday 4/1
40 Minutes
two new left hand exercises, foot tapping with "Flying Home"
Practing the pull-off and anchor exercises to keep them fresh. I can only do them very slowly right now. I noticed as I was practicing them that I push out with my shoulder and elbow against the neck, when I should really be bringing the fingers to the fretboard.
More work with foot tapping, along similar lines to Sunday's session. The pulse has this weird character of being delicate but rock solid at the same time.
40 Minutes
two new left hand exercises, foot tapping with "Flying Home"
Practing the pull-off and anchor exercises to keep them fresh. I can only do them very slowly right now. I noticed as I was practicing them that I push out with my shoulder and elbow against the neck, when I should really be bringing the fingers to the fretboard.
More work with foot tapping, along similar lines to Sunday's session. The pulse has this weird character of being delicate but rock solid at the same time.
Monday, March 30, 2009
Sunday, March 29, 2009
Sunday 3/29
30 Minutes
foot tapping, keeping a pulse with "Flying Home" and "Calliope"
I can't tap my foot for any length of time standing up. A little more luck sitting down, but much of the time it still feels strained. With this matter more or less dealt with, I looped some parts for as long as I could whilekeeping part of my attention in my hands and some in my tapping foot. My aim for this was to keep the tapping "indifferent" to what was going on withthe notes. I noticed that:
1) sometimes my sense of the pulse wavers, or I do not hear a consistent pulse;
2) generally, it's the foot that wants to adjust or "anticipate" for the hands. So, for instance, I'll be coming up to a transition and I'll raise the foot prematurely, or release it late.
Often, this is followed by a hiccup in the next tap;
3) when the pulse is felt, there is a kind of momentum to it, rather than the feeling of tapping at the correct moment discreetly (like throwing darts)...
So, my approach right now is to just keep it up for as long as possible. I listen to the metronome and try to feel the small lifting and release of weight in the foot, simultaneously. So far, the greatest struggle seems to be with the first bass part in "Calliope", which is a shame. I would totally tap that.
30 Minutes
foot tapping, keeping a pulse with "Flying Home" and "Calliope"
I can't tap my foot for any length of time standing up. A little more luck sitting down, but much of the time it still feels strained. With this matter more or less dealt with, I looped some parts for as long as I could whilekeeping part of my attention in my hands and some in my tapping foot. My aim for this was to keep the tapping "indifferent" to what was going on withthe notes. I noticed that:
1) sometimes my sense of the pulse wavers, or I do not hear a consistent pulse;
2) generally, it's the foot that wants to adjust or "anticipate" for the hands. So, for instance, I'll be coming up to a transition and I'll raise the foot prematurely, or release it late.
Often, this is followed by a hiccup in the next tap;
3) when the pulse is felt, there is a kind of momentum to it, rather than the feeling of tapping at the correct moment discreetly (like throwing darts)...
So, my approach right now is to just keep it up for as long as possible. I listen to the metronome and try to feel the small lifting and release of weight in the foot, simultaneously. So far, the greatest struggle seems to be with the first bass part in "Calliope", which is a shame. I would totally tap that.
Thursday, March 26, 2009
Thursday 3/26
60 Minutes
two-string scale exercise, 1st inversion arpeggios
Continuing with the left hand theme. A few little insights: the "sweet spot" behind the fret, relaxation of the elbow, and the relationship between my"release" and the rest of the arm; specifically, it seems like the same kindof relaxation in the elbow is necessary in the release as it is in the fretting.
60 Minutes
two-string scale exercise, 1st inversion arpeggios
Continuing with the left hand theme. A few little insights: the "sweet spot" behind the fret, relaxation of the elbow, and the relationship between my"release" and the rest of the arm; specifically, it seems like the same kindof relaxation in the elbow is necessary in the release as it is in the fretting.
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