Alembic Guitars Club
Connecting => Miscellaneous => Topic started by: David Houck on May 21, 2017, 01:27:19 PM
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Interestingly, at least to me, and after all this time, I noticed today how important it is that the fretting finger be firmly planted before the plucking finger hits the string. One might think that kind of thing to be second nature, especially by now; and maybe it is for most musicians. But it really became apparent to me today that one of the reasons that my notes aren't always cleanly played is the timing between the fingers on my left hand and those on my right. So I'm thinking that I should spend more practice time just focused on that.
I noticed another thing today. I've longed observed that practicing wears me out, that I seem really tired after putting the bass back in the stand; and it seems that at least part of that is mental fatigue. Today it occurred to me that perhaps one thing that is happening is that while I'm practicing, the mind is absorbing a lot of information, and that the mind needs time to process it all, constructing the proper neural pathways to best make use of it all. So I'm thinking that perhaps shorter more frequent practice sessions might be more helpful than longer sessions. I don't know; just something to play with going forward.
And something else I've been noticing recently. Practicing is exacerbating, at least temporarily, perhaps permanently, the tinnitus. Perhaps another reason to shorten the sessions; give the ears time to recover.
And a bonus observation. I'm seeing, experiencing, more clearly how music is interconnected with everything else. Music is the same as everything else that happens during the day. Everything that happens can be seen as a musical expression. There is an underlying beauty in everything just as there is in music; they are, everything is, intrinsically the same. Day to day life is an unending symphony. And sitting down to practice, playing music, recording music, is to give voice to that symphony.
The mystery of music is the same mystery as that of the universe itself.
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And the universe is one heckuva improvisor - the original jamband!
I was once lost in New York. I asked a guy on the street: "how do I get to Carnigie Hall?", to which he answered: "practice man, practice".
Bill, tgo
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:)
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I understand the effect of tinnitus on mood. It is one on the reasons I have given up playing out as even with fitted ear plugs the apparent increase in tinnitus volume after a loud session is tiring. These days what playing I do is at a volume you could talk over, ok maybe loudly talk over, and it doesn't seem to aggravate the tinnitus. If only I knew some of this when I was young and dumb.
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Nice philosophic read, Dave. :)
Riding back from a gig together yesterday evening, our guitar player (also plays mandolin with Harwell-Grice Band) commented that; figuring out a particular tune was for him much like finding different ways to solve a puzzle... each passage, a little musical solution to a problem.
For me, it's literally speaking in another language. There is a conversation going on between musicians... though not spoken word, there is an exchange happening.
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... increase in tinnitus volume after a loud session ... If only I knew some of this when I was young ...
Hopefully, our younger club members are taking note.
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Hopefully, our younger club members are taking note.... increase in tinnitus volume after a loud session ... If only I knew some of this when I was young ...
Hopefully, our younger club members are taking note.
We have younger club members?
About 10 years ago She insisted that I go an audiologist, who told me my hearing was well within the expected range "for someone your age" (and don't you hate all the Dr.s seem to be adding that phrase anymore?). I told that was wonderful; maybe it would shut Her up about my being deaf from years of being a rock-n-roll soundman. "Oh," quoth he, "in that case your hearing's perfect!"
Peter (Eh? What?)
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I enjoy practicing fingering while watching TV, I can go for hours.
Learning new tunes is a different story...I can feel the mental burn much sooner.
My tinnitus is a reminder I'm here on earth with a history...that's the positive spin that
helps me deal. No gigs lately, I miss that...but not the crash cymbal just over the right shoulder :o
Nice post Dave ,
Elwood
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No gigs lately, I miss that...but not the crash cymbal just over the right shoulder :o
Nice post Dave ,
Elwood
I have long said that guitarists don't go deaf from loud amps blowing past their knees; they go deaf from cymbals crashing at ear level.
On page 266 of Grateful Dead Gear, there's a shot from June '95 of Garcia & half of Hart; between Jerry's right ear & Mickey's closest cymbal is a mic stand - holding a Harley windshield.
Peter
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Well. there is muscle memory, then there is audio memory, then there is visual memory (and other types as well). It's complicated!
Then if you do solos that are improvised on the spot, you have to add that aspect to it. Then there is right vs left brain stuff going on.
I would love to read a book on it sometime.
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Interesting observations.
Re: practice - I agree with you that short, intense and focused sessions are better for learning specific musical passages or songs.
And longer, less intense and less focused sessions are better for getting to know your instrument(s), relaxing and developing confidence in your ability to react to what is happening around you by just improvising and going wherever your ears and fingers guide you - something like musical therapy through exploration of the great unknown. IMO, this is how you develop your "voice".
I have found that both approaches are important - especially if what you aspire to play involves any degree of improvisation.
Also - it is important to have a balance between all of the activities in your life. Balance mental "exercise" with physical activity. Balance what could be defined as work (job, yard work, etc.) with fun (playing music, watching sports on TV, etc.).
I believe a lot of the learning that begins during a focused practice session actually happens later when you're busy doing something other than what you've attempted to do in your practice session. Which could explain why you can often play something significantly better a day or two after struggling with it in a practice session.
I've also been influenced by a remark Jeff Beck made re: practice:
"I practice until I annoy myself. Sometimes it takes hours and sometimes only a few minutes".
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Nice topic.
Sadly we have been so very busy transitioning into a farm and caring for aging family members that I haven't played a gig in over 2 years. Moving away from a large city has put me in a location (isolated on a hill) that is not conducive to jamming, so the need for practicing is not a need.
My bass finger callouses are gone, replaced by farm work callouses. On occasion when I pull the bass out, my fingers scold me for being negligent. My heart tells me I need more music to balance - but my head wants the farm to be in a condition more conducive to our organic market farming vision/ homesteading dream. Trudge through this, keep pushing.
so - YES - to Beck's quote, I have heard others state similar. If you are frustrated while practicing, then what are you really conditioning yourself for?
Gregory said:
For me, it's literally speaking in another language. There is a conversation going on between musicians... though not spoken word, there is an exchange happening.
I agree, when learning a new song it is like deciphering another language. For me I don't want to know the notes, I want to know the intent; what did this other bassist want to create when he came up with this part? Was it joy? fear? tension? softness?
It seems that once there is an understanding to the emotion behind it, then learning it becomes easier.
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I told that was wonderful; maybe it would shut Her up about my being deaf from years of being a rock-n-roll soundman. "Oh," quoth he, "in that case your hearing's perfect!"
Peter (Eh? What?)
When you couldn't hear you had an excuse. Now she knows for sure you've just tuned her out. ;)
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I told that was wonderful; maybe it would shut Her up about my being deaf from years of being a rock-n-roll soundman. "Oh," quoth he, "in that case your hearing's perfect!"
Peter (Eh? What?)
When you couldn't hear you had an excuse. Now she knows for sure you've just tuned her out. ;)
Yeah, She might have mentioned that, too..........
Peter
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Another aspect I have found important in my practice, is practicing very slowly. When there is a passage that I cannot play, I really slow it down a lot, focusing on every little detail, staying as relaxed as possible. Consciously taking in the information so that down the road, it will become sort of an automatism. It really works for me, but requires a lot of discipline and focus that I dont always have.
I think that one of the most important aspects to practicing is, that you always "observe" your practice and are aware of what works for you and what not. Trial and Error maybe is the keyword. I used to do "autopilot practicing" in the past, but I am trying to get away from that. Just as we are all different, I dont think there is just one road to learning music, so its important to find out what works for us, always readjusting when necessary.
Dave, from having listened to your Solo Bass pieces on your six string, I got the impression that you really must be doing something right in your practice sessions ;-)
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I recall reading about a music study that determined 20 minutes is the efficient limit for the brain during practice.
I break my 20 minutes practice down with fretless or upright intonation, scales (!), bowing technique, reading and actually playing tunes or pieces (classical). Each 20 minute segment is timed and I take a break between them.
Works out well as I enjoy each type of practice segment. I mix up the sequence to what suits me and if I feel like a longer segment or eliminating something it's no sweat.
Yesterday instead of organized practice I grabbed the fretless Alembic Essence, grabbed a cold beer, cranked up the Bassmaster xs800/Powerhouse 410 and fired away at volume!
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Thanks, Chris!
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Another aspect I have found important in my practice, is practicing very slowly. When there is a passage that I cannot play, I really slow it down a lot, focusing on every little detail, staying as relaxed as possible. Consciously taking in the information so that down the road, it will become sort of an automatism. It really works for me, but requires a lot of discipline and focus that I dont always have.
Practicing slowly is always useful. Practicing fast is rarely useful. This is something I have to work on a lot with my students. I even have some of them practice long tones on the electric bass, like a wind player. It sounds odd, but it's really worth it.
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When I first sit down to learn new music I first learn the notes and the fingering the first way they come to me, then I go back and explore the most efficient fingering of those notes and passages. I also periodically go through our playlist for a hour and a half to two hours straight to build up and maintain endurance for gigs, which are 3 to 4 hours ,long so that I don't feel like I've run a marathon and need time to recover after gigs. Adrenaline will only carry these old fingers, back and brain so far! :) :) :)
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When I first sit down to learn new music I first learn the notes and the fingering the first way they come to me, then I go back and explore the most efficient fingering of those notes and passages.
I'm the opposite. I try to work on fingering from the start as I find it harder to unlearn a particular pattern after playing it often enough to learn the piece.
I also periodically go through our playlist for a hour and a half to two hours straight to build up and maintain endurance for gigs, which are 3 to 4 hours ,long so that I don't feel like I've run a marathon and need time to recover after gigs. Adrenaline will only carry these old fingers, back and brain so far! :) :) :)
I used to do this too when I still played gigs. I would try to go straight through the list at least once a week and usually twice.
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When teaching martial arts I found out that to unlearn is usually harder than to learn in the first place for many folks.