![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Sitting in the shed...
Jul. 29th, 2015 02:12 pm...(or the music room) guitar in hand, listening to Test Match Special on BBC Radio5live. Australia are 3 wickets down for 72 runs at lunch on the first day. A good morning with the ball from Finn and Anderson. Nowt for Broad as yet.
For the past week or so I've managed to play every day. Some scales, arpeggios, chord changes. Practice really changes things. The problem with lots of scales and alternative picking is that such an approach doesn't always give notes time to "breathe" and ring. We lose touch with the beauty of phrasing, which is the real signifier of greatness in playing. Which is why Jeff Beck is the musicians' lead guitarist, I suppose: and why, for all of his technical limitations, Gilmour is a genius; and Jimi is the electric guitarist sine qua non.
Every now and then we have to slow down and milk the notes for meaning outside of harmonic invention; or the rattling of machine-gun notes; or the noise, feedback, or guitar as car-crash (think strat abuse à la Adrian Belew) which sometimes seem the totality of practice. Or maybe just my practice. But great phrasing comes less from practice, and more from playing. And even more from playing and responding to other people's playing.
I need a regular working band.
For the past week or so I've managed to play every day. Some scales, arpeggios, chord changes. Practice really changes things. The problem with lots of scales and alternative picking is that such an approach doesn't always give notes time to "breathe" and ring. We lose touch with the beauty of phrasing, which is the real signifier of greatness in playing. Which is why Jeff Beck is the musicians' lead guitarist, I suppose: and why, for all of his technical limitations, Gilmour is a genius; and Jimi is the electric guitarist sine qua non.
Every now and then we have to slow down and milk the notes for meaning outside of harmonic invention; or the rattling of machine-gun notes; or the noise, feedback, or guitar as car-crash (think strat abuse à la Adrian Belew) which sometimes seem the totality of practice. Or maybe just my practice. But great phrasing comes less from practice, and more from playing. And even more from playing and responding to other people's playing.
I need a regular working band.
