30 minutes
16 bar exercise
Batr.
Invention #1, spending a lot of time on the descending line
Askesis, spending a lot of time on the unison part, the 15, and the "tricky bit"
Flying Home
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.
Sunday, March 22, 2009
Thursday, March 19, 2009
Monday, March 16, 2009
Tuesday, March 10, 2009
Sunday, March 8, 2009
Thursday, March 5, 2009
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