What you all think?
I really like Hal's book forward motion. A lot of stuff in there like he discusses here. My favorite idea of his is that the player is the instrument and piano is a means for expressing ideas. The other thing I love that Hal talks about is the idea that you have to hear ideas in your head so strongly that you must get them out, they have got to be that compelling. In the text he has an anecdote where Dizzy Gillespie mumbles a line then kind of scat yells it out, saying that that is how strongly you must hear ideas. Loudly and clearly.
Interesting thougths. Liked his book as well. Not a big fan of his own playing though - which irritates me a bit. Makes the things he says a bit less believable in my opinion but I think is't a matter of taste.
I tend to agree about Hal's playing but when he burns he really kills. Check his playing on Scofield's "Rough House" album. That got me a bit more into both of their playing.
I'm sure most students want to hear that, about speed, but I don't think it's true. And, I wonder how well he played, when he claims he played as fast as Tatum (which even if he did, is a ridiculous thing to say). It's like some guy saying I ran the 100m the other day and I tied the world record (yeah okay), who cares.
There is an obvious physical component to playing fast, sure, hearing and the mind are part of it, but you can't just say it's all in the "ear".
Yay, I can play faster cause i've got "faster ears".
I agree 100% with speed being in the ears, and that's pretty obvious because motoric functions are controlled by the brain. If you're not fast enough to hear something you can't play it either.
a 100% in the ears, really? So what if motoric functions are in the brain...it still has to be translated through the flesh, joints, etc...in your hands...and I don't buy that anit-repetition thing either...
I think that ears thing is a factor but no way is it 100%
i don't even care about playing fast anyway, i can play faster than i need to already, most of the time the problem is slowing down and playing musically and saying more by saying less...I'm sure glad Frisell doesn't or can't or whatever play fast...
interesting anyway...thanks for posting
I totally agree with jazznan.
Of course the physical factor is important or else we could just do "mental woodsheding" and then just go right onstage...
I think maybe Hal Galper kinda exaggerate to get an important message across though; that the mental process is important and is often overlooked in the pursuit of good technique..
fwiw I played guitar mentally in my head for 1-2 years due to a wrist injury and after it healed I was significantly better at executing my ideas. After two-three weeks of relearning head-hand coordination I was better and faster than before.
Or course joints etc.. are important, that's why we have warm-up exercises and don't use excessive force while playing.
So maybe not 100% but closer to 97%. ;)
just so i don't sound like i'm bashing him, i'm not. i just don't think it's a 100%, something to think about though and glad to hear that you're at 97%, injuries suck
i love it "mental woodshedding" if only that were true
"Mental woodshedding" can be fun (and rewarding). I often practice soloing over tunes mentally by visualizing the fretboard, imagining myself playing, while in the car or anywhere where I have time to kill. Of course with tunes you know by heart you can do it without the visualization, by just hearing, but with tunes you are half-familiar with it's a great practice.
Another more woodshedding type thing I've done mentally is that pentatonic exercice Ebm-Fm-Gm-Am-Bm-C#m from Kurts Italy clinic which can be somewhat of a mindf*ck to get under your fingers. Because it's not in the fingers... :)
I think this has turned into a great and important discussion! It's interesting to hear how you recovered from your injuries dirtylobster. I have also done some "mental woodshedding",imagining how to improvise over certain changes etc. So what's interesting is perhaps that during these "mental sessions" one does'nt really run scales or arpeggios up and down! Of course one think in musical-lines (at least if one improvises in the mind). I think the ear-to-hand connection for us guitarist is really hard, because it is so easy to get stuck in pre-practiced patterens. If you're playing a solo in your mind, it will sound difrently than if you grab your guitar and just blow.. To get the gap between the "mental woodshedding" and the "real woodshedding" as small as possible will be a goal for me at least. But there's a lot of work to do.. :)
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