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Originally Posted by ecj
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07-22-2015 10:16 PM
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Originally Posted by henryrobinett
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Honestly, I have never noticed that good players tap their feet at all. I never even noticed that they have feet. What the fuck you tap for? That's wasting energy that your fingers need.
Maybe they tap. I've just never noticed it and don't consider it essential to playing in any way. It's just incidental body movement like swaying hips or bobbing head.
I would bet that most great players have no awareness of their feet whatsoever! When they're burning, they don't even realize they got feet.
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Some tap with their feet and some don't. Monk used to pound the floor. I'm a foot tapper myself but it's totally involuntary. I'm not doing it to keep time. I think that it's more reacting to what I'm playing. Miles when asked what he looked for in a young player said that he could tell how well a person played just watching them open their case and set up the instrument. And he looked for a player who kept time, if they did use their feet at all, by tapping their heel and not their toe. Makes sense to me, the toe is sort of extended away from the body whereas the heel is in a direct line with it.
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Originally Posted by kenbennett
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Originally Posted by kenbennett
The need for it? Depends on what the band's like, for me.
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To tap or not to tap. Moot. Silly. Neither will make you play faster. Time is internal regardless of tapping habits. If i helps you regulate your sense of time all the better. Basically you need to know where one is.
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I took a risk and posted, let the hate filled youtube posts commence. On a different note, I was curious about how to phrase or feel double time runs. Still eludes me.
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I hope no hate starts! Thank you for uploading!
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Originally Posted by Irez87
The comedian Cat Williams said something quite profound in the age of the Internet.
If you don't have at least three haters, you're not trying hard enough.
unfortunitly in the world of the Internet troll, getting a few negative comments is indeed proof you are doing well. People are jealous you can do something they can not. That's the world we live in, haters gonna hate....
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The funny thing is, since this forum's been overtaken by Troy Grady recently, is that this fits in with his ideas, especially chunking.
Funny how spot on that man is.
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I've been digging his magnet video cam for looking at the mechanics of picking
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Troy Grady?
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Troy Grady is the guy who does "Cracking the Code".
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Originally Posted by Shadow of the Sun
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Originally Posted by ecj
Totally different things. See Peter Bernstein and Jim hall for classic examples of up tempo work which isn't very 'notey'
on the other hand fast playing is usually cut and dried. Adam Rogers said something to that effect. If you play fast it will be something you have played before.
the way you feel the beat makes a big difference to all of this. Amalgamating the beat into larger groups - tapping your foot on one etc - is an important step, because you might be able to play 16ths at 160 but not 8ths at 320 (try it with a band in a box play along on loud if you don't understand what I mean.) it's harder to keep from getting excited when the drums and bass are really going for it.
Then you can tap your foot in four (or not) and feel it as a subdivision of a larger grouping.
ive also found practicing in 1/2 note triplets gives a feeling of relaxation.
Psychology.
The 2thing is big. A trad band I play with often clocks up 320+. I play rhythm guitar straight fours at this tempo. It feels more relaxed because we play in 2...Last edited by christianm77; 07-24-2015 at 08:38 AM.
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Originally Posted by Irez87
one thing is feeling the 1/4 note triplet helps me feel the true double time. True swinging double time to me does not feel like 16th notes if that makes any sense.
Really counterintuitive. The interplay between triple and duple time in American music is endlessly fascinating...
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Originally Posted by christianm77
I do agree with amalgamation, both rhythmically and harmonically (ignore the iis!), but I dispute the writer's dismissal of the importance of physicality.
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Originally Posted by christianm77
I think I hear that in the way Cannonball Adderley plays double time. He swings the double time lines and makes them feel like a grooving rocking boat, with all that momentum. I'll try that 1/4 triplet thing. Does that mean that you shape your line dynamically and melodically with the 1/4 triplet?
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Originally Posted by Irez87
1/2 note triplet. Really feel the 3/4.... Make sure that you aren't playing a 3 3 2-easily done!
then solo freely as you as you would and notice how it feelsLast edited by christianm77; 07-24-2015 at 06:07 PM.
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Originally Posted by ecj
The Guild Surfliner ... So much to like for so...
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