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Originally Posted by jimmy
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03-30-2009 05:24 PM
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Originally Posted by royswan
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Originally Posted by derek
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Originally Posted by royswan
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Originally Posted by cosmic gumbo
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Cosmic Gumbos motivations are ineffable
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Those few years have passed, as has Larry Coryell. He is still remembered.
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Originally Posted by Litterick
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Originally Posted by grahambop
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Since this old thread has been dug up and is now walking around, I'll provide the answer no one seems to have offered.
The development of technique has a front end of musical judgement (selection of what to play and how to play it), and a back end of quality control (confirmation that what you selected and how you played it came out as intended)... and both these front and back ends of technique require listening, audiating, and experiencing the way music feels phenomonologically.
Lessons, method plans, exercises, etc. will be powerless if you aren't focused on actively listening to every sound you make on the instrument because in music you can't control nor improve what you don't hear...
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Originally Posted by pauln
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Technique comes from playing (practicing), and the course of that development connects pretty tightly to what you play (practice). Sometimes the path forward is boosted by occasionally taking something other than what would appear to be the direct path.
An example is something as simple as playing (practicing) with the reverb turned all the way up to maximum. This does a lot of interesting things...
- first of all it slows you way down (like to Ray Charles speed... very ssslllooowww)
- the nature of full reverb refocuses on deliberate notes (wrong notes have long hang times)
- full reverb's effect on harmonies of chords and lines changes your choices (you can't just play, you have to anticipate which kinds of chords, which internal voice shifts, and which melodic forms will blend and sound nice vs others that tend to smudge dissonant)
- it is an interesting way of examining a tune (any point in a tune has an envelope that harmonically "looks around", full reverb widens that aperture by explicitly mimicking your own internal process of harmonically "looking around")
- after an hour or so of full reverb, your hands will have adjusted to minimize noises and artifacts of fingering, picking, and strumming imprecision
- it's a bit like playing another instrument, getting a shifted perspective, hopefully picking up some things you would never have found playing (practicing) normally
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It's been years since I've posted about this exercise/experiment. Take a pencil and tape it to your left index finger until finger is totally immobilized. Next, proceed to play your guitar without the benefit of having use of that digit.
Observe how after a bit of playing that your brain begins to rewire itself and shifts your motor skills to compensate for losing use of the index finger. Continue playing, and it becomes more natural for your pinky to have more dexterity as it operates as a sub for the ring finger. Same with middle and ring fingers. You might find yourself attempting bars with the middle finger and other odd things as you've tricked your brain into managing w/o the index finger.
Now, untape your index finger and play with all four fingers. It's like your left hand technique has expanded to another level. The brain wants to compensate for physical limitations. I used to do it regularly to help improve, but, it's worth trying just to experience it.
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How to improve?
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