The world getting too much to handle? As long as I get my fair-trade cup of java a day, I’m good to go on anything that could come my way!

Can’t listen to your songs as both the speakers and phone-jack are busted on this laptop. Need a new computer, as fixing this one would cost more. New one ju$t not in the card$ quite yet.

All in due time, tho!

Guess what, I actually have Comments on my blog now. Yeah - who knew it could really happen one day!?

Take care. Jannie

JP

This goes for any industry or walk of life.
Excellent work, you’ve got a new listener!

It is interesting to hear you refer to yourself as having rhythm that used to be bad.

I have met many musicians over the years who have reported that they had “bad rhythm” or had been told that they were “tone deaf,” but have come to believe that everybody has an innate sense of pulse and pitch. (Whether or not one has tapped into it yet is another story.)

If you imagine how it used to feel to have “bad rhythm” and then compare it with what it’s like now–to be able to feel the pulse naturally, what has changed? Aside from the practice, what shifted inside that allowed you to get over the huccups and find the flow?

-JP

–Jannie

Thank you for sharing more details about your practice. You are fortunate to have had some good teachers. Breaking the music down and exploring its components–such as vowels, consonants, breathing before phrases, identifying where the sound is resonating…there is so much to discover in each individual session.

I especially resonate with your point about working flexibly with time–slowing the music down, letting it sink in, rather than “plowing ahead.” It’s such an important part of effective practice.

How about letting go of the metronome altogether and practicing “out of time?”

Often, in my experience, by temporarily forgetting meter, the music takes on a whole new life. Has anybody had any good “out of time” musical experiences?

JP

with guitar I can work on things such as… today I’m going to practice these 4 measures at 90 bpm, then, 110, then the optiimal 130. Or, I’m going to work on these 2 problem measures over and over slowly, instead of plowing ahead with them fast or plowing ahead with the whole song, thinking that by magic, the misitakes will somehow get fixed. Or, I’m going to isolate the left hand only in this session by forming the chord shape, then lowering my hand from the guitar, then coming back to the chord shape, over an over. (Maybe for 10 minutes.) That’s what works for me, anyway.

I used to think that it was many hours of practice a day that mattered, but now I know that’s not teh way for me to go.

I’ve had good teachers and mentors!

–Jannie

Thinking about breathing, smiling, and enjoyment as an integral part of “practice” is a great way to put more purpose behind your efforts.

You mentioned that you are sure of your intention for each practice session. That sounds like a simple, effective way to stay in the moment–to acknowledge that things are always changing and that today’s session will call for a different place to focus your attention than yesterday’s or tomorrow’s.

The word intention gets thrown around a lot these days, and I think that’s a good thing. It seems like more and more people are becoming aware of the power of their own conscious intentions in creating the results they desire.

I’ll take clear intention and purpose over being drudgery-driven any day!

JP

Personally, I make so much headway when I breathe happily, smile and remember to enjoy my practice time. And be sure of my intention for the session. 30 happy minutes can make weeks more progress than 4 hours of a drudgery-driven attitude.

Thanks for the inspiration
Jannie

Looking forward to your comments,
JP

Colie

Whitman wrote of this well before the science could corroborate poetry: I Sing The Body Electric. (http://www.bartelby.org/142/19.html)

It goes further. If you apply the transitive property to Whitman’s line, “And if the body were not the Soul, what is the Soul?” then you understand that electricity is the manifestation of soul.

Surely Jimi Hendrix found simply that through electricity he could more directly express his soul.

In unconscious listening, your ear is picking up on all types of sounds and implications which are penetrating into deep into your psyche without your knowledge. This is because our senses function on a very complex intuitive level for survival. In the jungle our 7 senses need to be highly attuned to our receiving stimuli from around us so we can react to them in case of threat and if there is a threat we react reflexively, surely long before our conscious mind can decide, “Jump back, that there’s a rattlesnake!”

My point in making this distinction is that we are all being affected unconsciously by powerful music on an unconscious level. Fact is that it is getting into our heads and souls even if we aren’t aware of it so long as we’re exposed to it.

Further, however, it requires conscious listening to make sense of this same musical stimulus so that we can perceive its impact on our souls and feelings and thus bring the experience of this music into a realm of practical resource. Once we are training our ear to consciously understand that same music which is getting under our skin anyway, we’re on our way to connecting our synapses for understanding of the same music and the growth that ensues. Then we have the learning and experience of the music at our disposal for our own purposesand creative expressions.