jumpinjeff
Forum Replies Created
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The real explanation is the wavelengths of vibrational frequencies and what the ear is able to hear as they cross. They have an equivalent relativity within keys that are the same althought the freqencies are all higher or lower depending on which way you go in pitch. Sorry, my first response was tongue in cheek, I incorrectly inferred the nature of the question.
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Shadow and shade mixed together at dawn, by the time you catch them simplicity is gone, thus the Diminshed. : )
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My progress took off when I figured out that my Expectation was where fun goes to die. Once I cleared that hurdle I was off to the races and progressing at a surprising and welcome speed. The whole thing got better. Everytime I picked up the guitar I had a small win punctated and caused by fun and to this day it reamains the case 10+ years later. Make play you practice and make your practice fun. Two notes connected in time is more fun than almost anything I know. The only thing more fun is three, and so on and so on.
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There are two ways to know what scale you are playing based on where you are on the fretboard. One is to memorize and know that you are starting on Note “X” or you can listen and match tones. My personal take was I needed a bit of both as I am tonically fluid. I get easily fooled by thirds and fifths when formating scales in my head. I never met a harmony I couldn’t wonder off and away with. : )
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I try to think of my hand as the place where things tie together but are not anchored, it is always actively flowing….notice it is not moving…it is flowing. Where it ends up is more a function of my elbow and shoulder. From the support of arms and back my hand is free and my fingers become loose and movable the more my arm/back/shoulder support my hand. Time in the saddle is the only way I found to reinforce and build this platform. Precision overtakes force. It takes time.
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Nice to see you back! Everyday now though….that is the key….just 10minutes minimum…try not to overdue to get it all back in a few days. : ) oh whoops, I may have been talking to myself. Anymore wild travel excursions?
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I offer this perspective. I learned most of the songs I know by listening. It took me a long time to figure out that vocal phrasing in the musical rhythm are not always the same and in most cases it is not. Jorgemac mentions the metronome….this single tool bridges the gap between spoken/sung words and music rhythm. I had to learn one two three four…get that under my fingers and then add the words….tough for me as I learned it backwards in the range of importance. The words are part of the rhythm and not the rhythm itself. I have no short cuts for this only time in the saddle.
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Congratulations PJDevlin! I can guarantee year 2 is 10x better than year 1! All that is necessary to enjoy the magic is to keep playing EVERY day.
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I found Interval focus to be key for my playing…..I have always said there is only one scale that changes pitch when we move location (all my playing friends just collectively rolled their eyes). Everything is variation on this. Over time doing anything is more important than doing nothing but it takes a while to understand how that works. It I why I looked everywhere for a good teacher and settled here.
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Aint No Sunshine starts 1/19 in the daily challenges. That Monday’s Challenge is called Cloudy Day. Just hit “start challenge” button on that Monday and away we go.
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Congrats on the anniversary Marty! I have recieved countless hours of inspiration from your playing. Feel better!
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Brilliant @albert_d : half step away from a happy day. That will get me going faster in the morning. It continues to amaze me how important these little mind frames are to my success. Another I use: the difference between Mediocre and Genius is…a half step.
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Check out the skills courses. There is a section devoted to this topic.
https://tonypolecastro.com/lessons/golden-rule-flatpicking/ -
and that is just the launch pad into the fractile!
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That old F shape is a tricky one. I had to sneak up on it, barred the two high strings only (at first) and focused on getting them to ring out, then added the G and contorted around until those three all rang and then added the D. This allowed me to dial in the pressure I needed to make it ring. I found I was trying to use too much brute force and became aware of the importance of precise placement of the fretting fingers. As you go through the contortion motions don’t forget to consider your elbow and shoulder as points of rotation not just wrist and fingers.