Sunday, 29 March 2009
Saturday, 28 March 2009
Habits
Carry on with yesterday's work, that is observing the moment of initiating the walking. I was slightly more aware of the movement coming up, thus able to prepare to begin with the non-dominant left foot. Although returning to habitual pattern was still dominant.
As the day was passing by I noticed a gradual coming back to stillness while in movement, and thus a kernel of freedom and choice in action, instead being totally carried away by whatever impulse passes by.
I also attempted to do some activities using my non dominant hand, as recommended by Rachel, my AT Teacher in Harrogate. Once switching to the left hand, when washing dishes for example, i would become more aware of the body as the whole. I will leave shaving or chopping for another day though!
Challenging the old habit this way reminds me of extending the elastic band. There's a moment when the tension builds up and becomes too much to bear, the band snaps back - back to habitual functioning, faster then a thought.
As the day was passing by I noticed a gradual coming back to stillness while in movement, and thus a kernel of freedom and choice in action, instead being totally carried away by whatever impulse passes by.
I also attempted to do some activities using my non dominant hand, as recommended by Rachel, my AT Teacher in Harrogate. Once switching to the left hand, when washing dishes for example, i would become more aware of the body as the whole. I will leave shaving or chopping for another day though!
Challenging the old habit this way reminds me of extending the elastic band. There's a moment when the tension builds up and becomes too much to bear, the band snaps back - back to habitual functioning, faster then a thought.
Friday, 27 March 2009
Left foot
My Alexander Technique journal found a good home.
It's the place for recording any AT related experiences: commentaries, noticing, perhaps even observations.
Today I set myself to observe the moment when I begin walking, and see if I can move my non-dominant leg first (left). The answer was mostly: no. There were 2 moments when I was able to inhibit, remember, and begin with the left foot, with intention. Both times when crossing the street, waiting for the green light to come up. The other over hundred number of times I wasn't there.
In fact, it didn't surprise me. It's difficult to exagerrate the power of habit, says the Aphorism.
It's perfectly possible to go through life automatically. 'Life' is going to happen to us regardless how asleep we are.
It's possible to remember oneself.
It's the place for recording any AT related experiences: commentaries, noticing, perhaps even observations.
Today I set myself to observe the moment when I begin walking, and see if I can move my non-dominant leg first (left). The answer was mostly: no. There were 2 moments when I was able to inhibit, remember, and begin with the left foot, with intention. Both times when crossing the street, waiting for the green light to come up. The other over hundred number of times I wasn't there.
In fact, it didn't surprise me. It's difficult to exagerrate the power of habit, says the Aphorism.
It's perfectly possible to go through life automatically. 'Life' is going to happen to us regardless how asleep we are.
It's possible to remember oneself.
2 pieces in 2 hours
No practice yesterday. Today:
Hour one:
Blockhead
Review the form of the piece and consult my part with the score. Practice the piece until the chords come in.
Also focus on little excerpts and do them well, like ascending pentatonic sequence. Push up the speed, count.
Hour two:
Fratres
Learn the triplets arpeggios (violin part)
Hour one:
Blockhead
Review the form of the piece and consult my part with the score. Practice the piece until the chords come in.
Also focus on little excerpts and do them well, like ascending pentatonic sequence. Push up the speed, count.
Hour two:
Fratres
Learn the triplets arpeggios (violin part)
A missing ingredient
Spontaneity was an ingredient that was missing recently, yet i couldn't quite name what it was, until i noticed it today.
Approach diagonal reversing today, tricky and exciting.
My feet are still mostly out of time when playing triplets, but there are also more relaxed, and more confident in their action. When the feet are tapping triplets, all the body is moving with it. The back is like extension of the legs, or vice versa?
This completes the third week of the project. Weekend is off.
Approach diagonal reversing today, tricky and exciting.
My feet are still mostly out of time when playing triplets, but there are also more relaxed, and more confident in their action. When the feet are tapping triplets, all the body is moving with it. The back is like extension of the legs, or vice versa?
This completes the third week of the project. Weekend is off.
Thursday, 26 March 2009
Half an hour of work
After midnight practice with Marek.
The energy in the flat is high tonight and this work done together feels like a good use of what is available.
We are 'on' for quite long as for this type of work - 30 minutes, but it turns out naturally, we go with the flow.
Work towards 2 against 3 pattern. Gradually, beginning where we are.
We pay pay part of our attention to our grounding, connection with the floor and with the chair, to the space in front of us, space behind us and above us, to the sounds surrounding us.
Good work.
The energy in the flat is high tonight and this work done together feels like a good use of what is available.
We are 'on' for quite long as for this type of work - 30 minutes, but it turns out naturally, we go with the flow.
Work towards 2 against 3 pattern. Gradually, beginning where we are.
We pay pay part of our attention to our grounding, connection with the floor and with the chair, to the space in front of us, space behind us and above us, to the sounds surrounding us.
Good work.
Wednesday, 25 March 2009
In the evening
2 x 20 minutes:
Third Relation in high speed (for me). Getting my hands used to making such efforts for longer than customary for me.
Play.
Third Relation in high speed (for me). Getting my hands used to making such efforts for longer than customary for me.
Play.
80
Change the metronome speed today, as recommended. From 60 to 80 BPM.
The feet are having some timing issues.
At the end my hands are still and present.
I will keep this speed for the rest of this week.
The feet are having some timing issues.
At the end my hands are still and present.
I will keep this speed for the rest of this week.
Tuesday, 24 March 2009
A little distraction
The clock in my room ticks out of time, it's not in sync with metronome's 60BPM (but hey, after all it only costed 50p). It's quite loud too, but i leave it clicking away during practice, thus serving as a little useful distraction.
Notice some end-gaining about the exercise. Can i let it go?
Assimilate and apply information received recently.
Observe.
Notice some end-gaining about the exercise. Can i let it go?
Assimilate and apply information received recently.
Observe.
Third Relation and other goodies
Third Relation.
Constant release.
Substantial and cohesive hour of work.
---Division of Attention w/o guitar---
Play through various repertoire.
Confident 45 minutes.
Constant release.
Substantial and cohesive hour of work.
---Division of Attention w/o guitar---
Play through various repertoire.
Confident 45 minutes.
Monday, 23 March 2009
Evening work
One hour in the early evening:
The functionality/mechanics ... The Primaries.
Challenge.
Spontaneity.
Developing Variations.
-------
Half an hour before midnight:
GC Themes.
The functionality/mechanics ... The Primaries.
Challenge.
Spontaneity.
Developing Variations.
-------
Half an hour before midnight:
GC Themes.
Third week - begin again
Begin again today, bearing in mind some new useful suggestions.
Go through the basic (hands) forms of the exercises.
The key word today: Intention.
Go through the basic (hands) forms of the exercises.
The key word today: Intention.
Friday, 20 March 2009
So much for the second week of practice
Practice today:
4 against 3:
More work on the form where feet are on four.
Further progress in terms of effortlessness and fluency. Manage to vary more the dynamics of the foot tap.
Perhaps slowing the metronome down a bit to 55 helped.
5 against 3:
Full basic form.
While working on counting 3 aloud and holding the count of 5 I noticed one body autumatism. That is when approaching the count of 'three' (sequence of 3), internally I was on 'four' (sequence of 5) and instead of speaking out 'three' I would repeatedly speak out 'four'. As if the body didn't really have much choice and was just mechanically vocalizing what was internal - the other count.
This completes the second week of work.
4 against 3:
More work on the form where feet are on four.
Further progress in terms of effortlessness and fluency. Manage to vary more the dynamics of the foot tap.
Perhaps slowing the metronome down a bit to 55 helped.
5 against 3:
Full basic form.
While working on counting 3 aloud and holding the count of 5 I noticed one body autumatism. That is when approaching the count of 'three' (sequence of 3), internally I was on 'four' (sequence of 5) and instead of speaking out 'three' I would repeatedly speak out 'four'. As if the body didn't really have much choice and was just mechanically vocalizing what was internal - the other count.
This completes the second week of work.
Thursday, 19 March 2009
A welcomed polyrhythm
More work on 4/3 exercise.
First establish accenting of the feet on its own, then add the hands. Today keeping it going together is possible, although it's shaky, it lacks certainty.
I'll be coming to it daily, but probably it's not good to spend all practice time exclusively on this.
So i also move on, and check out '5 against 3'.
It looks that my body welcomed this polyrhythm.
First establish accenting of the feet on its own, then add the hands. Today keeping it going together is possible, although it's shaky, it lacks certainty.
I'll be coming to it daily, but probably it's not good to spend all practice time exclusively on this.
So i also move on, and check out '5 against 3'.
It looks that my body welcomed this polyrhythm.
Atonal atomic hour
A solid hour of the 1st Primary: 1324 & 4231
60 BPM. From halves to sixteenth triplets.
60 BPM. From halves to sixteenth triplets.
Wednesday, 18 March 2009
Together
Practice with Marek today.
Begin with the brief relaxation exercise, individually.
We work on the '2 against 3' exercise from the GC AAD 2005-2006 course.
Moving from the first to the second step of the exercise.
We achieve it.
A diligent work.
Begin with the brief relaxation exercise, individually.
We work on the '2 against 3' exercise from the GC AAD 2005-2006 course.
Moving from the first to the second step of the exercise.
We achieve it.
A diligent work.
2 guitars
We have 3 guitar sessions with Marek today:
Meeting I:
We prepare with an AT lie-down.
Effortlessness. We review basics:
The alignment of the hand.
The way the pick is being hold.
The Principle of Release.
The Second Primary:
Metronome is set at 60BPM. Whole notes -> eighth notes.
At the end we add the pattern in the feet (3) plus counting (4)
-------short break-------
We swap guitars.
The First Primary:
1234 permutation.
The Principle of Succession and Simultaneous Release.
We gradually extend to four inner strings and two neighbouring position.
Various speeds. Also approach alternating between 8th notes triplets and 16th notes.
Good and focused work.
75 minutes.
Session II:
Division of Attention without guitars.
Brief relaxation exercise to begin with. We do it individually, few minutes for this.
We adjust the planned exercise to where we are. Begin with the possible.
Connect with the body.
Guitar:
We circulate notes of the C major scale - on and off beats. Marek takes first, Jacek second octave, then we reverse. Then we extend to two octaves.
Then first two octaves together. Calling out the name of the C note when we play it.
Triplets. We pay attention to the pulse in the feet, maintain this connection.
45 minutes.
Session III:
Repertiore: The Eye of the Needle.
Focus on the first 2 bars of 13. M takes lead, J takes bass part, then we reverse.
More related work without guitars. The body & the pulse.
Good work, but to move this forward the personal practice will be needed.
35 minutes.
Meeting I:
We prepare with an AT lie-down.
Effortlessness. We review basics:
The alignment of the hand.
The way the pick is being hold.
The Principle of Release.
The Second Primary:
Metronome is set at 60BPM. Whole notes -> eighth notes.
At the end we add the pattern in the feet (3) plus counting (4)
-------short break-------
We swap guitars.
The First Primary:
1234 permutation.
The Principle of Succession and Simultaneous Release.
We gradually extend to four inner strings and two neighbouring position.
Various speeds. Also approach alternating between 8th notes triplets and 16th notes.
Good and focused work.
75 minutes.
Session II:
Division of Attention without guitars.
Brief relaxation exercise to begin with. We do it individually, few minutes for this.
We adjust the planned exercise to where we are. Begin with the possible.
Connect with the body.
Guitar:
We circulate notes of the C major scale - on and off beats. Marek takes first, Jacek second octave, then we reverse. Then we extend to two octaves.
Then first two octaves together. Calling out the name of the C note when we play it.
Triplets. We pay attention to the pulse in the feet, maintain this connection.
45 minutes.
Session III:
Repertiore: The Eye of the Needle.
Focus on the first 2 bars of 13. M takes lead, J takes bass part, then we reverse.
More related work without guitars. The body & the pulse.
Good work, but to move this forward the personal practice will be needed.
35 minutes.
Tuesday, 17 March 2009
95
Play. I find myself inspired today, and follow spontaneously. Notice what can set the limits to what is possible for me, i.e. the fretboard knowledge, degree of attention.
Also work on the right hand capacity - 16th notes in 95BPM is possible today.
More play.
Also work on the right hand capacity - 16th notes in 95BPM is possible today.
More play.
The middle
It's the middle of the first period of work for me.
I begin with collecting myself, being attentive to the body.
Challenging form of 4 against 3 exercise. I also work on the individual pattern of the feet (accenting) and find out that the difficulty is not only related to the challenge of dividing attention, but also to some lack of connection/voluntary control over the feet. If it makes sense.
Also come back to the basic form.
I begin with collecting myself, being attentive to the body.
Challenging form of 4 against 3 exercise. I also work on the individual pattern of the feet (accenting) and find out that the difficulty is not only related to the challenge of dividing attention, but also to some lack of connection/voluntary control over the feet. If it makes sense.
Also come back to the basic form.
Monday, 16 March 2009
Week Two
More work on the 4 against 3 pattern. The basic form plus reversed hands/feet.
Coordinate 'mind' and 'hands' here, wondering what happened to the third element.
There's one stage of the exercise where the foot accents on every count of one. This is very challenging, as soon as i accent one. the hands are out of time. So i just establish the first out of 3 taps.
I'm happy to see this area for potential improvement, impartially.
Coordinate 'mind' and 'hands' here, wondering what happened to the third element.
There's one stage of the exercise where the foot accents on every count of one. This is very challenging, as soon as i accent one. the hands are out of time. So i just establish the first out of 3 taps.
I'm happy to see this area for potential improvement, impartially.
New week
No metronome, 45 minutes:
Fratres chords: sufficient pressure, transitions, fluency.
Review and practice part of The Moving Force.
Play 28 Bars.
---break---
Play.
Fratres chords: sufficient pressure, transitions, fluency.
Review and practice part of The Moving Force.
Play 28 Bars.
---break---
Play.
Saturday, 14 March 2009
Fratres
Work on Arvo Part's Fratres.
I received the score from Pablo M, so can review the chords and their sequences. This has actually been presented during our L3 in Kiel in the Summer 2005.
There are 7 chords. I also look at their individual voices.
This progression has 'moving away and coming back to the source' feeling for me.
I received the score from Pablo M, so can review the chords and their sequences. This has actually been presented during our L3 in Kiel in the Summer 2005.
There are 7 chords. I also look at their individual voices.
This progression has 'moving away and coming back to the source' feeling for me.
Friday, 13 March 2009
4 against 3
Moving on to a new 4 against 3 pattern today.
Clearly, this is based on the work done so far.
Holding two counts is the point where something clicks and where the main work of today lies.
Moving to symmetrical (left hand) is little more tricky, because my dominant hand is right. A job for the brain to work it out.
This completes the work for this week.
Clearly, this is based on the work done so far.
Holding two counts is the point where something clicks and where the main work of today lies.
Moving to symmetrical (left hand) is little more tricky, because my dominant hand is right. A job for the brain to work it out.
This completes the work for this week.
Thursday, 12 March 2009
Repertoire run through
As it happened, I just got familiar with The Last Hour talk, before grabbing guitar today. It was influential.
Play. Practically most of the repertoire I'm familiar with.
Play. Practically most of the repertoire I'm familiar with.
2/3 follow-up
I'm less attentive today, so just begin at the different place, following the principle.
Take some time to collect myself, do nothing. Then move to the follow up of 2 against 3 exercise - the rhythmic foundation of Intergalactic Boogie Express chords part.
Also come back to the basic 2/3 pattern. Focusing on some problematic aspects.
Uneventful, yet sound practice I'm happy with.
Take some time to collect myself, do nothing. Then move to the follow up of 2 against 3 exercise - the rhythmic foundation of Intergalactic Boogie Express chords part.
Also come back to the basic 2/3 pattern. Focusing on some problematic aspects.
Uneventful, yet sound practice I'm happy with.
Wednesday, 11 March 2009
Guitar on this Wednesday
Primaries and Repertoire today:
Push up the speed to 85 and work on DAAAA figure in various time divisions, put the money in the bank! Also a brief look on the legato exercise, using different fingers combinations.
Play through some pieces, metronome off:
Intergalactic Boogie Express (bass)
The Eye of the Needle (lead, bass and review 'burbles' part. Play the last two with the recording)
Allegro (Carcassi)
Music for a Found Harmonium
One hour.
Push up the speed to 85 and work on DAAAA figure in various time divisions, put the money in the bank! Also a brief look on the legato exercise, using different fingers combinations.
Play through some pieces, metronome off:
Intergalactic Boogie Express (bass)
The Eye of the Needle (lead, bass and review 'burbles' part. Play the last two with the recording)
Allegro (Carcassi)
Music for a Found Harmonium
One hour.
Begin again
We have a defined time frame for our Division of Attention project with AP now: beginning again today and completing on 11th June 2009.
Carry on with 2/3 work, all 4 ways of performing the pattern.
Notice that transitions are important, something worth looking at happens at these points.
Also notice how elegant the operation of Attention can be - for example, part of it being in the left foot and anticipating its tap every 2 metronome beats. No earlier, no later, without the rush. Almost as if allowing a different degree of freedom in action.
This sort of exercise challenges me, and at one brief point notice the E4. Would it be an indication of transition from E6 to E5, as informed by today's JGB reading? My sense is: yes.
The tricky 'feet' patterns are possible today, but for sure these can be improved, i.e. degree of relaxation etc.
Carry on with 2/3 work, all 4 ways of performing the pattern.
Notice that transitions are important, something worth looking at happens at these points.
Also notice how elegant the operation of Attention can be - for example, part of it being in the left foot and anticipating its tap every 2 metronome beats. No earlier, no later, without the rush. Almost as if allowing a different degree of freedom in action.
This sort of exercise challenges me, and at one brief point notice the E4. Would it be an indication of transition from E6 to E5, as informed by today's JGB reading? My sense is: yes.
The tricky 'feet' patterns are possible today, but for sure these can be improved, i.e. degree of relaxation etc.
Tuesday, 10 March 2009
11th March 2009
A brief practice today: moving from the 2nd Primary, at the 76 speed, alternating between 16th triplets (alternate) and 8th triplets (accented), changing every bar. Then taking this pattern further, into more musical direction, i.e. pentatonic phrases.
2 against 3 continues
10th March 2009
Begin with the moment to relax and collect myself.
More work on 2 against 3.
Review yesterday's work. There are 4 approaches to this exercise, given by left/right and hands/feet symmetries.
Review two of them, the easier ones, where the hands pulse changes and feet remain stable. The reverse is more challenging, and that's what i'm working on today.
Wearing my chi kung shoes helps, a practical detail, but makes a difference. Also decide to tap by lifting the heel up, instead of the front of the foot, important in terms of relaxation.
The switch to accenting the right foot is very tricky, also practice it on its own.
It seems that these 4 different approaches give the body chance to integrate this poly-rhythm and look at it from different angles.
Begin with the moment to relax and collect myself.
More work on 2 against 3.
Review yesterday's work. There are 4 approaches to this exercise, given by left/right and hands/feet symmetries.
Review two of them, the easier ones, where the hands pulse changes and feet remain stable. The reverse is more challenging, and that's what i'm working on today.
Wearing my chi kung shoes helps, a practical detail, but makes a difference. Also decide to tap by lifting the heel up, instead of the front of the foot, important in terms of relaxation.
The switch to accenting the right foot is very tricky, also practice it on its own.
It seems that these 4 different approaches give the body chance to integrate this poly-rhythm and look at it from different angles.
Monday, 9 March 2009
Session with Marek II
9 March 2009
We had a second meeting with Marek today. It's a sunny day, the road works outside are very noisy.
M made a good call to work on the basics.
'Being in time' turns out to be the main work today, we don't look at the operation of the hands.
Picking - 'downstrokes' and alternate on the A string.
BPM = 60: Whole notes, half notes, duplets, quarter notes, and ...
... quarter notes triplets. We stay here for longer and pay attention to the metronome pulse. Tapping the foot on the beat is too much at the moment. We work on counting 4 bars of 4. Good work!
Then move to eighth notes, extend the pattern to EAA, and then to EAD.
We establish the EAD pattern and play it alternately in two speeds: quarter and eighth notes, changing every bar of 6.
Then add the left hand chord in the Position of Readiness (M's guitar is very uncomfortable in the original EOTN position). First 3 notes of the Eye of the Needle arpeggio, using established picking pattern. Then move to notes 4-6. Then combine all 6 of them. J shifts his part to the off-beat, which gives a little challenge and helps to listen to individual parts.
Once established we move on - the same but in 8th and 16th notes alternating every bar of 6.
Diligent work, stop when enough.
The main issues: time & tone.
------- short break-------
Present the 9 notes of the first the Eye of the Needle descending line. We are standing now.
Then we establish the count (simplified, 13 broken up into 5 subdivisions) and clap the basic rhythm pattern while counting (w/o guitars).
Once established, J adds the lead line, but we mostly fail, miserably, due to the timing issues.
At the end we come back to clapping the rhythm pattern w/o guitars, a strong pulse is established in the feet. We are sitting.
End.
-------
Very intense 70 minutes (45 + 25).
Personally - a very good meeting for me. A good effort by M & J.
We had a second meeting with Marek today. It's a sunny day, the road works outside are very noisy.
M made a good call to work on the basics.
'Being in time' turns out to be the main work today, we don't look at the operation of the hands.
Picking - 'downstrokes' and alternate on the A string.
BPM = 60: Whole notes, half notes, duplets, quarter notes, and ...
... quarter notes triplets. We stay here for longer and pay attention to the metronome pulse. Tapping the foot on the beat is too much at the moment. We work on counting 4 bars of 4. Good work!
Then move to eighth notes, extend the pattern to EAA, and then to EAD.
We establish the EAD pattern and play it alternately in two speeds: quarter and eighth notes, changing every bar of 6.
Then add the left hand chord in the Position of Readiness (M's guitar is very uncomfortable in the original EOTN position). First 3 notes of the Eye of the Needle arpeggio, using established picking pattern. Then move to notes 4-6. Then combine all 6 of them. J shifts his part to the off-beat, which gives a little challenge and helps to listen to individual parts.
Once established we move on - the same but in 8th and 16th notes alternating every bar of 6.
Diligent work, stop when enough.
The main issues: time & tone.
------- short break-------
Present the 9 notes of the first the Eye of the Needle descending line. We are standing now.
Then we establish the count (simplified, 13 broken up into 5 subdivisions) and clap the basic rhythm pattern while counting (w/o guitars).
Once established, J adds the lead line, but we mostly fail, miserably, due to the timing issues.
At the end we come back to clapping the rhythm pattern w/o guitars, a strong pulse is established in the feet. We are sitting.
End.
-------
Very intense 70 minutes (45 + 25).
Personally - a very good meeting for me. A good effort by M & J.
The Division of Attention Project
9th March 2009
Today my daily commitment to the Division of Attention practice (without the guitar) begins. I had it in mind for some time actually, and the penny had dropped just before the recent OCG course.
I'm very happy to do it, especially because we'll be working together with Alain P.
My plan is to do between 15-20 minutes daily.
Begin with the material presented during the AAD Course 2005-06.
2 against 3 is the first one.
Work in the natural and relaxed speed for me, from step A until G.
Today my daily commitment to the Division of Attention practice (without the guitar) begins. I had it in mind for some time actually, and the penny had dropped just before the recent OCG course.
I'm very happy to do it, especially because we'll be working together with Alain P.
My plan is to do between 15-20 minutes daily.
Begin with the material presented during the AAD Course 2005-06.
2 against 3 is the first one.
Work in the natural and relaxed speed for me, from step A until G.
Saturday, 7 March 2009
7th March 2009
2 x 30 min:
1) 4th Primary on 4 & 3 strings.
Visualize the space in the elbow to encourage more freedom in its movement.
Continue to extend what is possible for me on the guitar.
Realize that in order to do that i have to accept that:
- it can get uncomfortable, i.e. arising body tensions while playing faster.
- mistakes are inevitably built in into the process.
I complete with playing very slow.
2) Learn all the bars of the Carcassi piece and work on it - with and without the metronome.
1) 4th Primary on 4 & 3 strings.
Visualize the space in the elbow to encourage more freedom in its movement.
Continue to extend what is possible for me on the guitar.
Realize that in order to do that i have to accept that:
- it can get uncomfortable, i.e. arising body tensions while playing faster.
- mistakes are inevitably built in into the process.
I complete with playing very slow.
2) Learn all the bars of the Carcassi piece and work on it - with and without the metronome.
Friday, 6 March 2009
6th March 2009
An hour:
1) Right hand drill - with and without mirror, observing the release. Notice how both muscular and nervous system are involved in this.
I'm happy to discover that i'm able to play faster now without getting tired or tensed. Well, relatively fast - on my personal scale. 16th notes at 80BPM. Then approach 16th triplets in this speed.
Also approach underlying accented picking pattern of Intergalactic.
It wasn't a good day for me today, but i feel much better after this practice. It helped a machine to come back to the functional level. A healthy way of spending time.
2) Intergalactic bass in various speeds with metronome. between 74 and 112. 116 is shaky. Also play without the metronome.
Play The Eye of the Needle lead without the metronome.
Basically, putting money in the bank during this hour.
-------
Later on:
- learn more bars of the Carcassi piece presented during the recent AAD course.
- left hand exercises.
1 hour 45 minutes of attentive practice today.
1) Right hand drill - with and without mirror, observing the release. Notice how both muscular and nervous system are involved in this.
I'm happy to discover that i'm able to play faster now without getting tired or tensed. Well, relatively fast - on my personal scale. 16th notes at 80BPM. Then approach 16th triplets in this speed.
Also approach underlying accented picking pattern of Intergalactic.
It wasn't a good day for me today, but i feel much better after this practice. It helped a machine to come back to the functional level. A healthy way of spending time.
2) Intergalactic bass in various speeds with metronome. between 74 and 112. 116 is shaky. Also play without the metronome.
Play The Eye of the Needle lead without the metronome.
Basically, putting money in the bank during this hour.
-------
Later on:
- learn more bars of the Carcassi piece presented during the recent AAD course.
- left hand exercises.
1 hour 45 minutes of attentive practice today.
5th March 2009
30 min sessions:
1) Left hand exercise acquired in SC.
Practice slowly and build up to 16th notes, also play reverse, and extend 5-notes pattern (12345) into 8-notes 12345432.
I play around it spontaneously, the time flies by.
It sound 'crafty'.
2) Integalactic groove.
Thanks to the left hand exercise the hand copes better with this tricky line. It doesn't tense as it usually does.
More counting work, BPM 108 is possible while sounding good and groovy. Also work on the 7 notes lead line with counting.
-------
And later more play on my own.
1) Left hand exercise acquired in SC.
Practice slowly and build up to 16th notes, also play reverse, and extend 5-notes pattern (12345) into 8-notes 12345432.
I play around it spontaneously, the time flies by.
It sound 'crafty'.
2) Integalactic groove.
Thanks to the left hand exercise the hand copes better with this tricky line. It doesn't tense as it usually does.
More counting work, BPM 108 is possible while sounding good and groovy. Also work on the 7 notes lead line with counting.
-------
And later more play on my own.
5th March 2009
Harrogate, England
We had our first NST guitar session with Marek tonight, and here's a brief info on what we did.
A little jam first, just play for fun.
We don't share much repertoire yet. We look at the first 4 bars of The Eye of the Needle lead line with metronome at 60.
Pause, and check out how much pressure from the left hand is really sufficient to press the strings.
Original speed (4 notes per beat) is too much, so we take it slowly - quarter notes, then eighth notes. Gradually we readjust the material to suit 'where we are' and 'what is possible'.
So we just stay with the first 13-notes figure while playing 2 notes per beat. The challenge is to do it while counting from 1 to 13 with the metronome. After persistent work it's finally discharged, honorably. Very revealing work.
We also address some timing problems that come up while playing 16th notes. Come back to foundations - alternate picking on one string in various speeds extended to the cross-picking on 3 strings. I hesitate to say 2ND & 4TH PRIMARIES, as we didn't really address the operation of the right hand (i.e. release)
Very good work and I'm happy we finally did it.
We worked for about an hour and a half, and all this while standing!
We had our first NST guitar session with Marek tonight, and here's a brief info on what we did.
A little jam first, just play for fun.
We don't share much repertoire yet. We look at the first 4 bars of The Eye of the Needle lead line with metronome at 60.
Pause, and check out how much pressure from the left hand is really sufficient to press the strings.
Original speed (4 notes per beat) is too much, so we take it slowly - quarter notes, then eighth notes. Gradually we readjust the material to suit 'where we are' and 'what is possible'.
So we just stay with the first 13-notes figure while playing 2 notes per beat. The challenge is to do it while counting from 1 to 13 with the metronome. After persistent work it's finally discharged, honorably. Very revealing work.
We also address some timing problems that come up while playing 16th notes. Come back to foundations - alternate picking on one string in various speeds extended to the cross-picking on 3 strings. I hesitate to say 2ND & 4TH PRIMARIES, as we didn't really address the operation of the right hand (i.e. release)
Very good work and I'm happy we finally did it.
We worked for about an hour and a half, and all this while standing!
Wednesday, 4 March 2009
4th March 2009
A follow up on the pattern in 3 - Left Right Right
BPM = 66
This time reverse the speeds:
Hands tap quarter notes.
Feet tap eighth notes.
This is actually much more tricky than the original. My guess is because there's a lot of tension in the ankles which makes tapping in time difficult. On top of this the tension spreads.
So begin with possible - relax into the feet pattern and establish it.
Then add one tap of the hand: Left
Once established add the second one: Left Right
And finally all three: Left Right Right
Then work on reversing the hands: LRR & RLL
A nice little example that the attention work needs a foundation of relaxation.
BPM = 66
This time reverse the speeds:
Hands tap quarter notes.
Feet tap eighth notes.
This is actually much more tricky than the original. My guess is because there's a lot of tension in the ankles which makes tapping in time difficult. On top of this the tension spreads.
So begin with possible - relax into the feet pattern and establish it.
Then add one tap of the hand: Left
Once established add the second one: Left Right
And finally all three: Left Right Right
Then work on reversing the hands: LRR & RLL
A nice little example that the attention work needs a foundation of relaxation.
4th March 2009
One hour split into two sections:
1) Right hand work with the mirror - release & alignment.
After 20 minutes of challenging my right hand wrist I attempted a division of attention exercise (counting 4 against 3) After this has been accomplished something clicked and I saw myself plucking the strings and the pattern, as from the distance, as an observer. This didn't last long, perhaps few seconds, because I spoiled it with my excitement and intellectualizing. This reminded me of the description of 'Consciousness' in HWDT. Perhaps that would be an example of E5 -> E4 ?
2) Intergalactic Boogie Express groove.
Work on the count until the point where the bass pauses.
Establish the solid base in BPM 80, 84 & 88.
I feel it's time to nail this bass line in the possible speed and take it further. So far I haven't 'got it' in any speed at all.
1) Right hand work with the mirror - release & alignment.
After 20 minutes of challenging my right hand wrist I attempted a division of attention exercise (counting 4 against 3) After this has been accomplished something clicked and I saw myself plucking the strings and the pattern, as from the distance, as an observer. This didn't last long, perhaps few seconds, because I spoiled it with my excitement and intellectualizing. This reminded me of the description of 'Consciousness' in HWDT. Perhaps that would be an example of E5 -> E4 ?
2) Intergalactic Boogie Express groove.
Work on the count until the point where the bass pauses.
Establish the solid base in BPM 80, 84 & 88.
I feel it's time to nail this bass line in the possible speed and take it further. So far I haven't 'got it' in any speed at all.
Tuesday, 3 March 2009
3rd March 2009
In the evening I feel like practicing some Division of Attention. A follow-up on the pre-OCG course material.
First go through the brief relaxation exercise.
Set up the metronome at BPM 69
Give attention to the limbs.
Go through all 3 parts individually:
1) Feet tap with the metronome in quarter notes:
Left - Right - Right
2) Hands clap in eighth notes:
Left - Right - Right
3) Count 4 bars of 3 in sixteenth notes:
1-2-3-2-2-3-3-2-3-4-2-3
Then work on the pairs: 1 & 2 together, 1 & 3 and 2 & 3.
Then do all three together, so 3 different speeds running at the same time. I'm surprised it clicks straightaway. Change the count to 3 bars of 4 and alternate counts.
A short, but quality practice. I have a lot of feel for this kind of work and will continue on a regular basis soon.
First go through the brief relaxation exercise.
Set up the metronome at BPM 69
Give attention to the limbs.
Go through all 3 parts individually:
1) Feet tap with the metronome in quarter notes:
Left - Right - Right
2) Hands clap in eighth notes:
Left - Right - Right
3) Count 4 bars of 3 in sixteenth notes:
1-2-3-2-2-3-3-2-3-4-2-3
Then work on the pairs: 1 & 2 together, 1 & 3 and 2 & 3.
Then do all three together, so 3 different speeds running at the same time. I'm surprised it clicks straightaway. Change the count to 3 bars of 4 and alternate counts.
A short, but quality practice. I have a lot of feel for this kind of work and will continue on a regular basis soon.
3rd March 2009
Before practice I was on the phone with my sister and told her I was about to do some GC guitar practice in order to ground myself. She asked what does it mean? To come back to 'here and now', was my answer. I guess it sounds a bit serious.
Split the hour into 2 sections:
1) Right hand. Work with mirror to check the alignment of the hand when moving to different strings. In my case the point is to be connected with the body. If i don't and tense, the old habits take over and the wrist arches, as pointed out during one personal meeting in SC. I add some counting to practice division of attention.
Also work on the relationship neck - wrist in the Alexander sense.
2) Strengthening the left hand. Work on two exercises i got from MS in Sant Cugat.
Split the hour into 2 sections:
1) Right hand. Work with mirror to check the alignment of the hand when moving to different strings. In my case the point is to be connected with the body. If i don't and tense, the old habits take over and the wrist arches, as pointed out during one personal meeting in SC. I add some counting to practice division of attention.
Also work on the relationship neck - wrist in the Alexander sense.
2) Strengthening the left hand. Work on two exercises i got from MS in Sant Cugat.
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