A little fingerpicking tip....

willem
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Sat Aug 31, 2013 7:12 am

thereshopeyet wrote:
Steve Wrote:
To some degree I think you have to learn to play all the transitions between chords and not just the individual chords.
Yes, it's the transitions from chord to chord no matter how small, even lifting a finger can be a challenge!
:)

I noticed on page 7 of the book, he explains briefly that muscle memory doesn't exist.
It's the brain..... good memory helps though ? :ohmy: I can't remember! :S

The Talent Code website mentioned in the book looks interesting too.

I need to go and practice Tip 30 now

Cheers for the book tip.... :)

Dermot
I am at tip 8

To develop reliable hard skills, you need to connect the right wires in your brain. In this, it helps to be careful, slow, and keenly attuned to errors. Towork like a careful carpenter. A good example of hard-skill carpentry is found in the Suzuki music instruction method. Suzuki students begin by spending several lessonssimply learning to hold the bow and the violin with the right finger curve and pressure, the right stance, the right posture. Using rhyme and repetition,they learn to move the bow (without the violin) “up like a rocket, down like the rain, back and forth like a choo-choo train.” Each fundamental, nomatter how humble-seeming, is introduced as a precise skill of huge importance (which, of course, it really is), taught via a series of vivid images,and worked on over and over until it is mastered. The vital pieces are built, rep by careful rep. Another example can be found on a worn piece of paper inside the wallet of Tom Brady, the three-time Super Bowl–winning quarterback of theNew England Patriots. On that paper is a handwritten list of fundamental keys to throwing technique. All of them are simple (example: “Throw downthe hall”), and all of them connect to the drills Brady’s been doing with his personal coach Tom Martinez since he was fourteen years old. In fact, untilMartinez died in 2012, Brady visited his coach once or twice a year for a tune-up—or, to put it more accurately, a repaving of Brady’s neuralhighways to make sure they were still running smoothly.Precision especially matters early on, because the first reps establish the pathways for the future. Neurologists call this the “sled on a snowy hill”phenomenon. The first repetitions are like the first sled tracks on fresh snow: On subsequent tries, your sled will tend to follow those grooves. “Our brains are good at building connections,” says Dr. George Bartzokis, a neurologist at UCLA. “They’re not so good at unbuilding them.”When you learn hard skills, be precise and measured. Go slowly. Make one simple move at a time, repeating and perfecting it before you moveon. Pay attention to errors, and fix them, particularly at the start. Learning fundamentals only

seems

boring—in fact, it’s the key moment of investment. If you build the right pathway now, you’ll save yourself a lot of time and trouble down the line

EDIT:

Sorry for awake you from your nap...


thereshopeyet
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Sat Aug 31, 2013 7:38 am

Thanks.


willem
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Sat Aug 31, 2013 7:54 am

thereshopeyet wrote:
Willem

Good quote, :)

ImageThe nap didn't last long! :(



Go the soft way!!!!!!!! Image


unclewalt
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Sat Aug 31, 2013 11:27 am

thereshopeyet wrote:
Steve Wrote:
I haven't really checked out thetalentcode.com website.
I've had a further look he's mostly plugging the Talent Code book.

There's a great clip from 'History of the Eagles' Documentary ........Glenn Frey Learns Songwriting From Jackson Browne.....



Dermot

:)
Huh. I happen to have just heard of this film the other day, and happen to be in the middle of watching it now. The whole thing is great so far.


kanefsky
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Sat Aug 31, 2013 3:17 pm

unclewalt wrote:
thereshopeyet wrote:
Huh. I happen to have just heard of this film the other day, and happen to be in the middle of watching it now. The whole thing is great so far.
I ordered the blu-ray from Amazon about 5 minutes after Dermot posted the clip :)

--
Steve


willem
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Sat Aug 31, 2013 3:37 pm

kanefsky wrote:
unclewalt wrote:
thereshopeyet wrote:
Huh. I happen to have just heard of this film the other day, and happen to be in the middle of watching it now. The whole thing is great so far.
I ordered the blu-ray from Amazon about 5 minutes after Dermot posted the clip :)

--
Steve
Maybe over a month or so you can say Í learned from Al stewart !!!!

Willem


TGNesh
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Sat Aug 31, 2013 5:12 pm

When Elvis Presley was working on his comeback, late sixties, he had actually no idea what to do. He was thrown into a wolves pit, was supposed to entertain the Las Vegas crowd, a hard crowd to please. He obviously wasn't the 20 year old rebel anymore. But one night he watched how a young entertainer, Tom Jones, won the audience (which TJ did every night in those days), the way he 'played' with them, the moves, the throwing the scarfs into the audience etc., and he saw how the women threw their underwear on stage (middle aged women! :ohmy: ), and there was his answer! So yeah, Elvis 'stole' a lót from Tom, (they became friends too), incorporated it into his own style, made it his own and became even more succesfull.

And yes, he had many 'influences' when he started out too of course, especially singingwise. (I can't remember all these names :blink: )

I say tip 3 got a point! ;)

willem wrote:
TIP 3..




We are often told that talented people acquire their skill by following their “natural instincts.” This sounds nice, but in fact it is baloney. Allimprovement is about absorbing and applying new information, and the best source of information is top performers. So steal it.Stealing has a long tradition in art, sports, and design, where it often goes by the name of “influence.” The young Steve Jobs stole the idea for thecomputer mouse and drop-down menus from the Xerox Palo Alto Research Center. The young Beatles stole the high “wooooo” sounds in “SheLoves You,” “From Me to You,” and “Twist and Shout” from their idol Little Richard. The young Babe Ruth based his swing on the mighty uppercut of his hero, Shoeless Joe Jackson. As Pablo Picasso (no slouch at theft himself) put it, “Good artists borrow. Great artists steal.”Linda Septien, founder of the Septien School of Contemporary Music, a hotbed near Dallas that has produced millions of dollars in pop-musictalent (including Demi Lovato, Ryan Cabrera, and Jessica Simpson), tells her students, “Sweetheart, you gotta steal like crazy. Look at every singleperformer better than you and see what they’ve got that you can use. Then make it your own.” Septien follows her own advice, having accumulatedfourteen three-ring notebooks’ worth of ideas stolen from top performers. In plastic sleeves inside the binders, in some cases scribbled on cocktailnapkins, reside tips on everything from how to hit a high note to how to deal with a rowdy crowd (a joke works best).Stealing helps shed light on some mysterious patterns of talent—for instance, why the younger members of musical families so often are also themost talented. (A partial list: The Bee Gees’s younger brother, Andy Gibb; Michael Jackson; the youngest Jonas Brother, Nick. Not to mentionMozart, J. S. Bach, and Yo-Yo Ma, all babies of their families.) The difference can be explained partly by the windshield phenomenon (seeTip #1)and partly by theft. As they grow up, the younger kids have more access to good information. They have far more opportunity to watch their older siblings perform, to mimic, to see what works and what doesn’t. In other words, to steal.When you steal, focus on specifics, not general impressions. Capture concrete facts: the angle of a golfer’s left elbow at the top of thebackswing; the curve of a surgeon’s wrist; the precise shape and tension of a singer’s lips as he hits that high note; the exact length of time acomedian pauses before delivering the punch line. Ask yourself: •What, exactly, are the critical moves here? •How do they perform those moves differently than I do?


kanefsky
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Sun Sep 01, 2013 5:25 pm

willem wrote:
Maybe over a month or so you can say Í learned from Al stewart !!!!
I'm not worthy! I'm not worthy! Image


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