Technical control
From StickiWiki
This next topic is the basic fundamental key to any auditory expedition. The reason that technical control is important will unfold in a few ways. First, the fingers need to function and have individual coordination, along with the rest of the hand and then with both hands simultaneously. Second, the transfer of your consciousness into the sound requires a psychic and physical connection between your fingers and your existence. It is best to approach both aspects as one. As technical dexterity brings a deep connection with the instrument, it provides a universe from which to create and expand from. Intuition can show where to put the focus, and attention, but it is also nice to get some examples from other starship operators.
Here are a few practical things that will connect the brain with the fingers. It is important to notice each note and be present, while zoning out at the same time. It is a meditation of sorts. It is the balance between thinking and not, composition or improvisation. There is a middle ground where you are on auto-pilot with your knowledge, so you are free to use it or not, at any time without consciously thinking.
- Get a steady beat going in your head. Play one random note on each pulse. The key is to see all notes as equal. Vary the speed from super slow to ultra fast, while being precise with good feel. Take note of patterns that you fall into or certain fingerings that you favor. Use them for writing songs but try and find true freedom in note selection for this practice. It is okay to stay within a six fret zone, focus that skill, and then to branch out from there.
This aspect of staying in time and selecting notes will develop a strong relationship between the hands and the unconscious mind. It will also allow for the flowing of energy to gain momentum. As the fingers develop a voice, it becomes a whole new game. Listen to them, or command them from the soul? Maybe there is no difference, though it seems that the physical mechanics have a mind of their own. Of course, anything that we play doesn't originate from the body, so it may be a matter of percentages of how much "being" you put in.
- A variation on the above practice - choose a particular scale, fragment of a chord, or unique pattern. Then memorize it on the fretboard by applying the random note tactic, with the difference of staying within the chosen notes. This is really useful for learning tonalities and intervals.
- Another variation is to do this in free time. It can be uncomfortable to play in this way at first. It doesn't sound quite right to the conditioned ear. Initially, it may sound like you are forcing odd timing, or are making a lot of mistakes! After a bit of this, your intention may become more and more abstract. It seems to open up a hidden aspect of music that lends itself to either levitation or insanity.
- Look for new shapes on the fretboard. This one sounds really obvious and easy. Start from two notes at a time and work your way up. Remember to use larger intervals than you normally would. This process gets really interesting as you add more notes to the equation. It also takes some time and discipline to continually search for new shapes and then figure out how you will categorize/memorize them. As long as you know the chromatic interval numbering system, every combination (no matter how strange sounding) can be documented fairly easily. Graphs and blank fretboard diagrams are helpful when things get complex. They are also great for learning new things. Then after using the charts, ideally the information would be absorbed and ready to apply to playing. It is cool that we have the power of such advanced memory, as we record all data all the time (including a lot that we may be unaware of). It is just a matter of accessing it properly. However, it may be advisable to focus on one or two shapes at a time for full comprehension.
- Playing to your ability at any given musical scenario requires some knowledge of technical limits. To have control you must not consistently fumble, go out of rhythm or lose the integrity of the musical idea. This is not playing it safe however, as the whole idea of creativity is to explore and take risks. You gain the physical dexterity while practicing, and when you perform you take it to the edge. It is fine to screw up, and make all sorts of mistakes. Just not on a consistent basis, as that could taint your style a bit more than you may like. As long as the rhythm is on and the feel is good, you can get away with anything.
(not done)
