Wednesday 12/31
60 Minutes
Reviewing repertoire on my list that needs reviewing, including "Life Light".
Tuesday, December 30, 2008
Monday, December 22, 2008
Sunday, December 21, 2008
Friday, December 19, 2008
Thursday, December 18, 2008
Wednesday, December 17, 2008
For tonight:
Wednesday 12/17
60 Minutes
Alexander work, Israel, F Major triads.
Working to master the picking pattern and chord progressions in "Israel". Practicing chord changes so that "inhale of breath" doesn't occur in the playing. I find it's best to let the hand transition as a whole, rather than let it "drag" to its next position.
Wednesday 12/17
60 Minutes
Alexander work, Israel, F Major triads.
Working to master the picking pattern and chord progressions in "Israel". Practicing chord changes so that "inhale of breath" doesn't occur in the playing. I find it's best to let the hand transition as a whole, rather than let it "drag" to its next position.
For the previous two days:
Monday 12/15
30 Minutes
Alexander work.
---
Tuesday 12/16
60 Minutes
Alexander work, F Major triads, some improvisation.
If I can let go of my shoulder tension while I play, it will be a major accomplishment. This is the focus of my calisthenic work right now. Observing the body carefully and working with inhibition, relaxation, and following clear directions. There is a lot contained within the small gesture of lifting the left hand to the neck.
Monday 12/15
30 Minutes
Alexander work.
---
Tuesday 12/16
60 Minutes
Alexander work, F Major triads, some improvisation.
If I can let go of my shoulder tension while I play, it will be a major accomplishment. This is the focus of my calisthenic work right now. Observing the body carefully and working with inhibition, relaxation, and following clear directions. There is a lot contained within the small gesture of lifting the left hand to the neck.
Sunday, December 14, 2008
Thursday, December 11, 2008
Wednesday, December 10, 2008
For yesterday:
Tuesday 12/10
30 Minutes
Liedown. Experimenting with the steps outlined by Alexander in The Use of the Self. Kind of similar to JftD, actually. I find it's effective to be as clear as possible about all the 'controls' that I am 'consciously projecting'. For example, if one of them is "thumb is in the middle of the back of the neck", knowing 'where' the thumb is exactly and what is meant by the direction makes the exercise more substantial.
Another interesting thing about this exercise is that it requires that I know how my body does what it does, and what are the best conditions for that use, so there's an aspect of experimentation and observation to it.
Tuesday 12/10
30 Minutes
Liedown. Experimenting with the steps outlined by Alexander in The Use of the Self. Kind of similar to JftD, actually. I find it's effective to be as clear as possible about all the 'controls' that I am 'consciously projecting'. For example, if one of them is "thumb is in the middle of the back of the neck", knowing 'where' the thumb is exactly and what is meant by the direction makes the exercise more substantial.
Another interesting thing about this exercise is that it requires that I know how my body does what it does, and what are the best conditions for that use, so there's an aspect of experimentation and observation to it.
Tuesday, December 9, 2008
Sunday, December 7, 2008
Friday, December 5, 2008
Thursday, December 4, 2008
Wednesday, December 3, 2008
Wednesday 12/03
60 Minutes
Liedown, left hand practice, right hand practice, all slow and very present to the way the hands move. Tried playing a piece with that and it didn't work. Perhaps I should try playing the piece with that kind of intention, rather than jumping right from one thing to another.
60 Minutes
Liedown, left hand practice, right hand practice, all slow and very present to the way the hands move. Tried playing a piece with that and it didn't work. Perhaps I should try playing the piece with that kind of intention, rather than jumping right from one thing to another.
Saturday, November 29, 2008
Saturday 11/29
60 Minutes
Liedown. Working with release of the fingers in the left hand. Long, present Primary #1 (4-3-2-1), exhausting my attention. Observing the hand and fingers. Practicing letting the fingers be in a clear "non-position", going in and out of that position decisively.
Applying calisthenic practice to music, the first bar of a moto perpetuo.
Returning to "Batrachomyomachy", counting. Stayed in the practice room until I was able to count all the way through, once.
60 Minutes
Liedown. Working with release of the fingers in the left hand. Long, present Primary #1 (4-3-2-1), exhausting my attention. Observing the hand and fingers. Practicing letting the fingers be in a clear "non-position", going in and out of that position decisively.
Applying calisthenic practice to music, the first bar of a moto perpetuo.
Returning to "Batrachomyomachy", counting. Stayed in the practice room until I was able to count all the way through, once.
Thursday, November 27, 2008
Thursday 11/27
60 Minutes
Liedown, continuing counting work with "Batrachomyomachy". My goal was to keep a solid count while playing the part; that is, the count and the work of the hands would be independent but related events. That's how I eventually thought of it, dividing my attention as though in counting and playing I was doing two different activities. Then, the same idea with foot tapping and "Flying Home" at 76 BPM. I don't think I'm quite good enough at either tapping or playing at that tempo to take on the two simultaneously.
More work with F Major triads.
60 Minutes
Liedown, continuing counting work with "Batrachomyomachy". My goal was to keep a solid count while playing the part; that is, the count and the work of the hands would be independent but related events. That's how I eventually thought of it, dividing my attention as though in counting and playing I was doing two different activities. Then, the same idea with foot tapping and "Flying Home" at 76 BPM. I don't think I'm quite good enough at either tapping or playing at that tempo to take on the two simultaneously.
More work with F Major triads.
For yesterday:
Wednesday 11/26
60 Minutes
Alexander liedown, working tonight with "Batrachomyomachy". Right hand exercise with the first section (bass tone thing - I have a tendency to play the C and G strings with the arm coming down, rather than with the wrist). Then, back to counting all the sections of the piece; stuck on 8's and 7's. I used the metronome to help me cheat, but that missing 3 inthe 7's causes confusion, as do the held eighth notes in the groups of sixteen. I noticed that as I was counting the 7's, I would hold the eighth note in my count, for example:'one...two...three...four...fiveeee...six...seven' etc. I worked on keeping them seperate, and I actually think the time feel is a little better for it.
After this, I worked on F Major triads in the first position, playing and singing the notes as best I was able.
Wednesday 11/26
60 Minutes
Alexander liedown, working tonight with "Batrachomyomachy". Right hand exercise with the first section (bass tone thing - I have a tendency to play the C and G strings with the arm coming down, rather than with the wrist). Then, back to counting all the sections of the piece; stuck on 8's and 7's. I used the metronome to help me cheat, but that missing 3 inthe 7's causes confusion, as do the held eighth notes in the groups of sixteen. I noticed that as I was counting the 7's, I would hold the eighth note in my count, for example:'one...two...three...four...fiveeee...six...seven' etc. I worked on keeping them seperate, and I actually think the time feel is a little better for it.
After this, I worked on F Major triads in the first position, playing and singing the notes as best I was able.
Tuesday, November 25, 2008
Tuesday 11/25
30 Minutes
Beginning with an Alexander liedown, going through the five relations of the body a few times. Right hand exercise, trying Primary #2 at 76 BPM in eighths and sixteenths. Returning to the body routinely with a sense of relaxation, letting it be and visualizing the pelvis as center of gravity, and a gentle nod of the head.
Discovered a certain use of the thumb which produces good tone, but I don't have a strong enough kinesthetic sense of it to hold onto it during play.
30 Minutes
Beginning with an Alexander liedown, going through the five relations of the body a few times. Right hand exercise, trying Primary #2 at 76 BPM in eighths and sixteenths. Returning to the body routinely with a sense of relaxation, letting it be and visualizing the pelvis as center of gravity, and a gentle nod of the head.
Discovered a certain use of the thumb which produces good tone, but I don't have a strong enough kinesthetic sense of it to hold onto it during play.
Monday, November 24, 2008
20 minutes
As a result of a private meeting with Victor last night, I am supposed to practice in the following manner for the next week to a month:
Play slowly and staccato as quietly as possible while still maintaining a firm grip on the pick and the left thumb in the middle of the neck. Also have the feeling of roundness like holding a ball in the left hand.
New finger exercise
Third Relation - A minor section
49 Notes
Flying Home
As a result of a private meeting with Victor last night, I am supposed to practice in the following manner for the next week to a month:
Play slowly and staccato as quietly as possible while still maintaining a firm grip on the pick and the left thumb in the middle of the neck. Also have the feeling of roundness like holding a ball in the left hand.
New finger exercise
Third Relation - A minor section
49 Notes
Flying Home
Saturday, November 22, 2008
Friday, November 21, 2008
15 minute sitting (broken up into a morning and night sitting by Isabel waking up early from her nap)
80 minutes
2nd Primary - I observed a problem in my right hand angle that may be contributing to some digging and playing multiple strings when playing quickly.
1st Primary
Batrachomyomachy
49 Notes
Flying Home - E section
Third Relation
Bicycling to Afghanistan
Invention #1
Hommage
80 minutes
2nd Primary - I observed a problem in my right hand angle that may be contributing to some digging and playing multiple strings when playing quickly.
1st Primary
Batrachomyomachy
49 Notes
Flying Home - E section
Third Relation
Bicycling to Afghanistan
Invention #1
Hommage
Thursday, November 20, 2008
Wednesday, November 19, 2008
Tuesday, November 18, 2008
15 minute sitting
20 minutes
Flying Home - F section, w/ metronome at 60, 70, 80. At 60, it was ok, at 70 a lot of tension in the left hand, at 80, not as much tension, but a lot of sloppiness (playing two strings at once especially).
Askesis - Tricky section (this was giving me a lot of trouble today) and mirror.
2nd Primary
20 minutes
Flying Home - F section, w/ metronome at 60, 70, 80. At 60, it was ok, at 70 a lot of tension in the left hand, at 80, not as much tension, but a lot of sloppiness (playing two strings at once especially).
Askesis - Tricky section (this was giving me a lot of trouble today) and mirror.
2nd Primary
Tuesday 11/18
30 Minutes
Basic primary work for the right and left hands.
My bass tone has always sucked, and it is particularly evident in "Calliope". I spent some time working to improve the crispness of my playing in the lower register, and simply endeavoring to make the song not sound like a clusterfuck (two words?) of open C strings. I'll probably pick this up again tomorrow.
30 Minutes
Basic primary work for the right and left hands.
My bass tone has always sucked, and it is particularly evident in "Calliope". I spent some time working to improve the crispness of my playing in the lower register, and simply endeavoring to make the song not sound like a clusterfuck (two words?) of open C strings. I'll probably pick this up again tomorrow.
Monday, November 17, 2008
Monday 11/17
60 Minutes
Began with basic primary work in both hands, again focusing on the wrists and lightness of touch.
I then tackled counting on "Batrachomyomachy" and wound up working out fingerings for various places in the piece. Back on track, I played it with the aim of counting and using the fingerings I had found.
The sevens will require special attention, because counting downbeats feels weird when there's a downbeat left out on three.
Closing with some work with G Major arpeggios in the first position.
60 Minutes
Began with basic primary work in both hands, again focusing on the wrists and lightness of touch.
I then tackled counting on "Batrachomyomachy" and wound up working out fingerings for various places in the piece. Back on track, I played it with the aim of counting and using the fingerings I had found.
The sevens will require special attention, because counting downbeats feels weird when there's a downbeat left out on three.
Closing with some work with G Major arpeggios in the first position.
Sunday, November 16, 2008
For Saturday 11/15:
120 Minutes
I began with "Flying Home", playing slowly at 60 BPM with the aim of tapping my foot for the whole length of the piece. Oonce I became sufficiently comfortable, I bumped the tempo up to 72, and when I was challenged by that I pushed it further to 80. I went back to 72, trying to identify recurring trouble spots in regard to foot tapping.
Touched briefly on "Calliope" with the same theme.
The second hour was devoted to technique. Right now, I sense the best calisthenic work for me is in the wrists; both are constantly and subtly involved in the operation of the hands. Very small movements, but having contact with that makes such a drastic difference in theease of play and the sound of the instrument. Call it "working on touch".
120 Minutes
I began with "Flying Home", playing slowly at 60 BPM with the aim of tapping my foot for the whole length of the piece. Oonce I became sufficiently comfortable, I bumped the tempo up to 72, and when I was challenged by that I pushed it further to 80. I went back to 72, trying to identify recurring trouble spots in regard to foot tapping.
Touched briefly on "Calliope" with the same theme.
The second hour was devoted to technique. Right now, I sense the best calisthenic work for me is in the wrists; both are constantly and subtly involved in the operation of the hands. Very small movements, but having contact with that makes such a drastic difference in theease of play and the sound of the instrument. Call it "working on touch".
Friday, November 14, 2008
Wednesday, November 12, 2008
Tuesday, November 11, 2008
For yesterday:
Monday 11/10
60 Minutes
Right hand speed exercise, going in and out of sixteenths while keeping a kind of Alexandrian relaxation. Different variations on the same idea.
Then, technical work with "Flying Home", slowly applying hand shifts between positions. A lot of good work there...
And five minutes of maintenence on "Batrachomyomachy"!
Monday 11/10
60 Minutes
Right hand speed exercise, going in and out of sixteenths while keeping a kind of Alexandrian relaxation. Different variations on the same idea.
Then, technical work with "Flying Home", slowly applying hand shifts between positions. A lot of good work there...
And five minutes of maintenence on "Batrachomyomachy"!
Tuesday night
Who: Terry T.
Aim: Learning running line in Batrachomyomachy
Duration: 30 minutes
1. Warming up with 1st Primary
2. Doing a couple of variations on the 1st Primary. Basically the same as Jim Root's warm-up exercise here... http://www.youtube.com/watch?v=Ag5cVhnPk2o (2nd exercise in video)
3. Making adjustments to finger positions to better execute each phrase of the running line. ie. changing hand position and starting the phrase with 4th finger.
4. Continue learning the running line.
Who: Terry T.
Aim: Learning running line in Batrachomyomachy
Duration: 30 minutes
1. Warming up with 1st Primary
2. Doing a couple of variations on the 1st Primary. Basically the same as Jim Root's warm-up exercise here... http://www.youtube.com/watch?v=Ag5cVhnPk2o (2nd exercise in video)
3. Making adjustments to finger positions to better execute each phrase of the running line. ie. changing hand position and starting the phrase with 4th finger.
4. Continue learning the running line.
Monday, November 10, 2008
50 minutes, split into two sessions of 20 minutes and 30 minutes.
Hommage
Batrachamyomachy
2nd primary and variations (just one string, across multiple strings)
16 bar exercise and variations (no fretting with left hand)
Calliope, medium tempo, then with PowerTab at 88.
Third Relation, medium tempo, then with PowerTab at 89.
Playing Calliope and Third Relation along with PowerTab was not the total disaster I was expecting. It's not yet music, but there is hope. I felt more tension in my right arm playing around 70 and 75 than at these higher speeds.
Hommage
Batrachamyomachy
2nd primary and variations (just one string, across multiple strings)
16 bar exercise and variations (no fretting with left hand)
Calliope, medium tempo, then with PowerTab at 88.
Third Relation, medium tempo, then with PowerTab at 89.
Playing Calliope and Third Relation along with PowerTab was not the total disaster I was expecting. It's not yet music, but there is hope. I felt more tension in my right arm playing around 70 and 75 than at these higher speeds.
Saturday, November 8, 2008
Saturday 11/8
60 Minutes
Picking up "Moving Force" and "Batrachamyomachy" work from yesterday. For the former, counting and tapping the 7's while placing the accents accurately, in different sections. Then, playing the whole piece without the lead, counting to keep my place. I can do it, but I have trouble keeping the count during the dotted quarter section with the chords. I also find it challenging to play the accents without saying the extra (+) in the count.
For the latter, playing the counterpointed parts seperately for accuracy and then attempting to put them together. I still haven't quite got it, and this one is also difficult to count (even without the changing meters).
60 Minutes
Picking up "Moving Force" and "Batrachamyomachy" work from yesterday. For the former, counting and tapping the 7's while placing the accents accurately, in different sections. Then, playing the whole piece without the lead, counting to keep my place. I can do it, but I have trouble keeping the count during the dotted quarter section with the chords. I also find it challenging to play the accents without saying the extra (+) in the count.
For the latter, playing the counterpointed parts seperately for accuracy and then attempting to put them together. I still haven't quite got it, and this one is also difficult to count (even without the changing meters).
Friday, November 7, 2008
Friday 11/7
A large chunk of time
Reprtoire work tonight, getting to know "Moving Force" and "Batrachamyomachy". For the former, the notes came quickly, but counting required a little investigation. Basically, it's all in 7 except for the first four bars (in 6), with accents all over the place; this will make an excellent and interesting foot tapping/counting exercise for tomorrow.
"Batrachamyomachy" will also provide interesting work, bringing out the counterpoint of the bassline. I suspect that if I can play everything with a good sense of four-note flow that the counterpoint will naturally come out.
A large chunk of time
Reprtoire work tonight, getting to know "Moving Force" and "Batrachamyomachy". For the former, the notes came quickly, but counting required a little investigation. Basically, it's all in 7 except for the first four bars (in 6), with accents all over the place; this will make an excellent and interesting foot tapping/counting exercise for tomorrow.
"Batrachamyomachy" will also provide interesting work, bringing out the counterpoint of the bassline. I suspect that if I can play everything with a good sense of four-note flow that the counterpoint will naturally come out.
Thursday, November 6, 2008
Wednesday, November 5, 2008
Tuesday, November 4, 2008
Monday, November 3, 2008
Sunday, November 2, 2008
For yesterday:
Saturday 11/1
45 Minutes
Speed exercise with "Flying Home". I determined that my right hand needs more attention, so I spent time with that, too. Then, some fretboard knowledge work, beginning with F Major diatonic triads in the first position, and moving to C Major diatonic triads on the fourth position.
Saturday 11/1
45 Minutes
Speed exercise with "Flying Home". I determined that my right hand needs more attention, so I spent time with that, too. Then, some fretboard knowledge work, beginning with F Major diatonic triads in the first position, and moving to C Major diatonic triads on the fourth position.
Saturday, November 1, 2008
For yesterday:
Friday 10/31
30 Minutes
Rhythm exercise with "Invention #1", really trying to nail the 'a' in terms of rhythmic flow. I tried keeping my attention with the sensation of my foot tapping with the metronome, the weight moving, while I counted and played over it. Then I tried the same thing with body beat.
Also spent a few minutes working out fingerings to a moto perpetuo of my own, from GG&F, for a future solo piece.
Friday 10/31
30 Minutes
Rhythm exercise with "Invention #1", really trying to nail the 'a' in terms of rhythmic flow. I tried keeping my attention with the sensation of my foot tapping with the metronome, the weight moving, while I counted and played over it. Then I tried the same thing with body beat.
Also spent a few minutes working out fingerings to a moto perpetuo of my own, from GG&F, for a future solo piece.
Thursday, October 30, 2008
Wednesday, October 29, 2008
GH: Zeitgeist Gallery reconnaissance. (Also apparently called Its also called "outpost cafe" or "subconsciousness cafe") Its at 186 1/2 Hampshire St Cambridge. You have to walk down a little side ally to find the place, and this section of street does not get a lot of foot traffic. It does look like they put out "sandwich boards" to indicate that something is going on, but none were out. Overall, very low street visibility. I walked back the ally. No real sign indicating which door to go through. I took a guess and found myself in a small room. Seating capacity probably about 20. It felt a little awkward walking in on what looked to be a improvisational performace about to get under way. The people there seemed like they were all friends. As I was leaving I said "I wish I could stay," someone made a farting sound. I smiled and said "what he said." They made another farting sound. It was a bit odd.
More info: booking email robchalfen@hotmail.com
Website: zeitgeist-outpost.org
Tuesday, October 28, 2008
Monday, October 27, 2008
Monday afternoon
Who: Terry T.
Aim: to work on Flying Home
Duration: 50 minutes
1. Warming up with first primary, 16 bar exercise and Eye of the Needle
2. Played FH twice to identify problem spots
3. Addressed various problem spots with related exercises, ie. playing open strings with just the right hand jumping back and forth from slow tempo to double tempo
4. Made adjustments to strap and guitar position - noticing that right arm is pushing too hard on the guitar causing numbness in right hand
5. Played FH again, slow and very legato
6. Played FH faster but still keep the legato
7. looping Dm section to address left hand accuracy
8. looping Em and Fm section to address left hand fatigue
9. Played FH again, take notes, made adjustments
10. looped the beginning first 5-6 notes of FH with the aim of "beginning" the piece appropriately
Other: Touch up on Growing Circle and Moving Force
Who: Terry T.
Aim: to work on Flying Home
Duration: 50 minutes
1. Warming up with first primary, 16 bar exercise and Eye of the Needle
2. Played FH twice to identify problem spots
3. Addressed various problem spots with related exercises, ie. playing open strings with just the right hand jumping back and forth from slow tempo to double tempo
4. Made adjustments to strap and guitar position - noticing that right arm is pushing too hard on the guitar causing numbness in right hand
5. Played FH again, slow and very legato
6. Played FH faster but still keep the legato
7. looping Dm section to address left hand accuracy
8. looping Em and Fm section to address left hand fatigue
9. Played FH again, take notes, made adjustments
10. looped the beginning first 5-6 notes of FH with the aim of "beginning" the piece appropriately
Other: Touch up on Growing Circle and Moving Force
Sunday, October 26, 2008
Sunday 10/26
60 Minutes
In preperation for group work, I focused on speed and fretboard knowledge. For me, the challenge of playing quickly is doing the same thing more rapidly without applying extraforce; so, theoretically, I've "got it" if I can play something with the same tone and muscle tension I use at half speed. And that's what I did, alternating between a slow, gentle bar and a cumulative amount of fast bars, paying attention to the mentioned things.
For fretboard knowledge, I worked with first inversion C Major triads in the middle of theneck.
60 Minutes
In preperation for group work, I focused on speed and fretboard knowledge. For me, the challenge of playing quickly is doing the same thing more rapidly without applying extraforce; so, theoretically, I've "got it" if I can play something with the same tone and muscle tension I use at half speed. And that's what I did, alternating between a slow, gentle bar and a cumulative amount of fast bars, paying attention to the mentioned things.
For fretboard knowledge, I worked with first inversion C Major triads in the middle of theneck.
Saturday, October 25, 2008
Friday, October 24, 2008
Thursday, October 23, 2008
have been working approximately 45 min a day for the past 3 days. mainly on this piece i did with tony on the course called lament. some scale work, and a bit of work on the right hand. have realized i need to confront my right hand with more exercise to fully heal an injury from a year and half ago, which is still causing systematic weakness in my wrist. internet connection has been dodgy until today.
Wednesday, October 22, 2008
Tuesday, October 21, 2008
Monday, October 20, 2008
Sunday, October 19, 2008
Friday, October 17, 2008
Thursday, October 16, 2008
Wednesday, October 15, 2008
Monday, October 13, 2008
Friday, October 10, 2008
Thursday, October 9, 2008
Wed: Forty minutesish, new rep, CoFD material. Right hand work.
Tuesday: half-hourish, new rep, CoFD material. Right hand work.
Monday: Night off.
Sunday: An hour or so, broken up into two sessions, reacquainting myself with the three parts to Love is Green. Circle meeting 7:30-10 V,David and me: LIG and Calliope.
Saturday: Worked for 15 or 20 minutes on some icing on the arrangement cake for the new piece for the circle. Spent more time away from the guitar thinking about it.
Tuesday: half-hourish, new rep, CoFD material. Right hand work.
Monday: Night off.
Sunday: An hour or so, broken up into two sessions, reacquainting myself with the three parts to Love is Green. Circle meeting 7:30-10 V,David and me: LIG and Calliope.
Saturday: Worked for 15 or 20 minutes on some icing on the arrangement cake for the new piece for the circle. Spent more time away from the guitar thinking about it.
Tuesday, October 7, 2008
Sunday, October 5, 2008
Sunday 10/5
60 Minutes
Repertoire work. Beginning with various challenges in Invention #1; memorizing the form, playing the notes with rhytmic flow in the fourth seat (on the 'a'). Really fun; then working with Flying Home, trying to bring out the counterpoint in the main line by workingout the placement of the accents in the higher and lower parts.
60 Minutes
Repertoire work. Beginning with various challenges in Invention #1; memorizing the form, playing the notes with rhytmic flow in the fourth seat (on the 'a'). Really fun; then working with Flying Home, trying to bring out the counterpoint in the main line by workingout the placement of the accents in the higher and lower parts.
Saturday, October 4, 2008
Friday, October 3, 2008
Thursday, October 2, 2008
Wednesday, October 1, 2008
Wednesday 10/1
50 Minutes
Struggling to play semi-quavers at 80 BPM. Most of my practice focused on addressing this; I notice there seems to be a point where I "lock in" with my whole body during play. I believe that it is this extra squeezing force that is preventing me from playing faster. I tried doing a 16-bar exercise with mindfulness of the tension in my body, but this was too difficult, so I peeled back to a single string. I switched back and forth between eight notes and sixteenth notes, slowing down when I felt I was "pushing" or getting frustrtated, beginning again with a sense of lightness. The arm feels like it is hovering over the strings. Somehow, I have to play faster without any extra force.
I didn't forget the left hand. Returning to my glitchy index finger; perhaps it is its position near the fretboard that places it at a mechanical disadvantage. After working inthis direction, I'm becoming convinced this may be the case.
Calliope at 84 BPM. No. Calliope at 80 BPM. Do-able, but crummy sounding. There is a big difference between 80 and 84.
I am now also going to practice being mindful of a certain nervous habit during my sessions.
50 Minutes
Struggling to play semi-quavers at 80 BPM. Most of my practice focused on addressing this; I notice there seems to be a point where I "lock in" with my whole body during play. I believe that it is this extra squeezing force that is preventing me from playing faster. I tried doing a 16-bar exercise with mindfulness of the tension in my body, but this was too difficult, so I peeled back to a single string. I switched back and forth between eight notes and sixteenth notes, slowing down when I felt I was "pushing" or getting frustrtated, beginning again with a sense of lightness. The arm feels like it is hovering over the strings. Somehow, I have to play faster without any extra force.
I didn't forget the left hand. Returning to my glitchy index finger; perhaps it is its position near the fretboard that places it at a mechanical disadvantage. After working inthis direction, I'm becoming convinced this may be the case.
Calliope at 84 BPM. No. Calliope at 80 BPM. Do-able, but crummy sounding. There is a big difference between 80 and 84.
I am now also going to practice being mindful of a certain nervous habit during my sessions.
Wednesday night
60 minutes
Theme 1: Left hand accuracy and reduce squeeks
Doing first primary but advancing one fret while moving on to the next string going up and down the neck. Being as legato as possible with out making squeeks
Theme 2: Right hand accuracy
Doing the first primary but with out fretting. Visualizing the left hand moving up and down the fret board while keeping the picking as rhythmically even as possible.
Theme 3: Building speed
Doing the first primary from low string to high (or vice versa), pause for two beats, then advance to the next fret. Moving up and down the neck in this fashion. Start bpm at 90, then 100, then 110, and then 120. Keeping all 24 notes in a set as even as possible (both volume and time) while attacking the strings with full relaxation.
Theme 4: Regaining left hand muscle
Playing 'Moving Force' at a very slow tempo (60 bpm), keeping each note as legato and even as possible, while relaxing the left hand.
Theme 5: Familiarize myself with the acoustic guitar
Finding good and balance position that optimizes the left hand and right hand operation. The aim is to find a position where the guitar is sitting still on me while the left hand and right arm just simply float over it.
60 minutes
Theme 1: Left hand accuracy and reduce squeeks
Doing first primary but advancing one fret while moving on to the next string going up and down the neck. Being as legato as possible with out making squeeks
Theme 2: Right hand accuracy
Doing the first primary but with out fretting. Visualizing the left hand moving up and down the fret board while keeping the picking as rhythmically even as possible.
Theme 3: Building speed
Doing the first primary from low string to high (or vice versa), pause for two beats, then advance to the next fret. Moving up and down the neck in this fashion. Start bpm at 90, then 100, then 110, and then 120. Keeping all 24 notes in a set as even as possible (both volume and time) while attacking the strings with full relaxation.
Theme 4: Regaining left hand muscle
Playing 'Moving Force' at a very slow tempo (60 bpm), keeping each note as legato and even as possible, while relaxing the left hand.
Theme 5: Familiarize myself with the acoustic guitar
Finding good and balance position that optimizes the left hand and right hand operation. The aim is to find a position where the guitar is sitting still on me while the left hand and right arm just simply float over it.
DR:
Worked for 40 minute tonight on acoustic, and the moved to electric for 20 minutes. The 40 minutes were a little unfocused, switching back and forth between exercises. I'm in a bit of a strange position since I'm not really in the Performance Project, but am still a part of it. So, what do I work on? Repertoire? Perhaps this is a chance for me to work on exercises without the pressure of pieces. So I did both.
Beginning with Second Primary work, also introducing my own string skipping exercises. This was recommended to me by Victor at my last lesson. Followed by First Primary work and some variations of the 4th/5th Primary, (I've gotten confused since people have told me different things - the single-string scale primary), and also using Trapiche to work on speed and left and right hand coordination.
Working on Calliope at 84 BPM, this is the first time I've worked on this piece in maybe a year, maybe more. The feeling of our last work together from Sunday night was still in my hands and I could feel that work still resonating. Specifically, cross-picking the intro. Can I play the main bass line with authority and tightness? The C-string can present it's own challenges. Transitions that I have always had problems with were noted, but not worked on.
A little Askesis and Flying Home for good measure. Again, working at 84 or 88, trying to push my limits.
Lots of Right Hand work, again, working on speed limits. Managed to push to 16ths at 152 BPM, though quite difficult and hard to hold on to for more than 20 seconds. Can I do this with a relaxed hand and decent tone?
Electric work focused on some exercises by John Petrucci. Finger stretches and independence. Also work on bending and general fluidity on electric. This was done unplugged, however.
Finally, some free-form improvisation on both acoustic and electric. Fun.
Tuesday, September 30, 2008
Monday, September 29, 2008
Monday 9/29
50 Minutes
Began with giving exercise and attention to both hands. For the right hand, working with asimple subdivision exercise looping crochets, quavers and semi-quavers on a single string, all at 80 BPM. The aim is to play rapidly and have a well-defined attack and tone, and to work up to a competent 88-94 BPM range.
For the left hand, another exercise along a single string, this one a variegated A minor scale with an open note every third note. The main focus was shifting, but I discovered a little glitch in the index finger which proved quite useful to focus on.
Finally, an attempt to combine shifting and rapid strokes, Flying Home at 80 BPM. No big insights, other than a sort of "crunch" my body undergoes while I'm playing it (an elaboration of Guitar Craft face?), and a noticable instant improvement when when I stop"digging in" with my whole body.
50 Minutes
Began with giving exercise and attention to both hands. For the right hand, working with asimple subdivision exercise looping crochets, quavers and semi-quavers on a single string, all at 80 BPM. The aim is to play rapidly and have a well-defined attack and tone, and to work up to a competent 88-94 BPM range.
For the left hand, another exercise along a single string, this one a variegated A minor scale with an open note every third note. The main focus was shifting, but I discovered a little glitch in the index finger which proved quite useful to focus on.
Finally, an attempt to combine shifting and rapid strokes, Flying Home at 80 BPM. No big insights, other than a sort of "crunch" my body undergoes while I'm playing it (an elaboration of Guitar Craft face?), and a noticable instant improvement when when I stop"digging in" with my whole body.
Sunday, September 28, 2008
Saturday 9/27
50 minutes
Began with a meditation on silence. Discovered a kind of quality of attention, not lettingit get "tangled up" in distraction, but not "pushing it out". Weird feeling and difficultto maintain. Remembered a feeling exercise presented by Elan.
Primary #1 (1234), simply observing the left hand. Fingers aren't doing their work; I noticed thatthe thumb, elbow and shoulder like to pitch in in their own ways. Lost attention and becamefrustrated after about 20 minutes, so I took a break. It helped.
Three things were exremely helpful with my technique this evening:
* attention;
* beginning;
* going with the weird feeling...
"Fooled around" with Calliope. I realized: both hands need daily attention, even if I intend to focus on one. I put good work in, and lose it so easily. Maybe ten minutes to warm up both...
Emerging practice themes:
* the juice;
* tone (discerning both what sounds good and what doesn't sound good);
* foot tapping.
50 minutes
Began with a meditation on silence. Discovered a kind of quality of attention, not lettingit get "tangled up" in distraction, but not "pushing it out". Weird feeling and difficultto maintain. Remembered a feeling exercise presented by Elan.
Primary #1 (1234), simply observing the left hand. Fingers aren't doing their work; I noticed thatthe thumb, elbow and shoulder like to pitch in in their own ways. Lost attention and becamefrustrated after about 20 minutes, so I took a break. It helped.
Three things were exremely helpful with my technique this evening:
* attention;
* beginning;
* going with the weird feeling...
"Fooled around" with Calliope. I realized: both hands need daily attention, even if I intend to focus on one. I put good work in, and lose it so easily. Maybe ten minutes to warm up both...
Emerging practice themes:
* the juice;
* tone (discerning both what sounds good and what doesn't sound good);
* foot tapping.
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