Lean your body forward slightly to support the guitar against your chest, for the poetry of the music should resound in your heart
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Andres Segovia
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Airmont
This week the students in the SPOTLIGHT (for last week's achievements) are: • Arthur
Some students should profit more from their practice time. I suggest that they embrace what enables progress. REPETITION. I must add that the right attitude about difficult music and remaining focused (yes, it's a choice) rather than being distracted by every idle thought will go a long way in attaining the technique and progress you desire. Remember, excellence doesn't come easily or everyone would be a great guitarist.
The Student Newsletter for February is finally done. Thanks for your patience! ••••••••••
The Question of the week is: Why are you so insistant on me NOT separating the notes of a piece I'm learning, from the rhythm?
I know The really pithy answer is, "BECAUSE THEY ARE NOT SEPARATE ENTITIES," but I think that sort of snarky reply requires more elaboration. :-) I suppose the best illustration would be like trying to memorize or remember all the faces of a new crop of classmates or business associates one has met for the first time, WITHOUT CONNECTING THEIR NAMES TO THEIR FACES. Wouldn't that be daunting and very nearly pointless? Another example would be (pre-speed dial) memorizing various people's phone numbers, but not to whom the number belong. In all honesty, although a student will usually look at a note as consisting of 2 pieces of information: the pitch and the duration, in actuality, it's one bit of info. Here's one more example, there are several Arlauses running around out there in the world. I'm an Arlaus. There are other Arlauses who play guitar. I'm an Arlaus who plays guitar. There are other Arlauses born in May. I'm born in May. So, what makes me, me, and unique is that I have absolutely unique DNA and I just so happen to also be an Arlaus, who plays guitar, lives in a particular place, was born on a particular date, etc. So, let's use that pesky dotted quarter note B-flat that's at the beginning of a measure and is followed by an eighth note F that's tied to a final half note F as a musical example. (A nice amen cadence for you readers who know theory.) If you, as a student practices B-flat, F, you are not practicing what's written there. You're learning a nameless face, or a nameless phone number, or looking at just any Arlaus. All of those examples are removed from practical use and are a huge waste of energy. They can easily confuse you later and surely make it harder to "relearn" the complete information later. It's the same with separating the duration of a pitch from the pitch itself. Remember, the tone and its duration are like white on rice (or tan on rice if you like Basmati.) They're inseparable. ~ Student Newsletter
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