#121
|
|||
|
|||
Quote:
Quote:
For me, it is far more special. Those may be some rare odds. But it is much more rare to have suitable enough conditions, and also be born with some special talent. So, you will not appreciate the greatness at the same magnitude I do. It is more of a simple and common place, matter of fact thing for you. Like "oh, ya, that guy practiced a lot and started young." To me, it is like "wow, that person is something special, and they put all of their special abilities that they have into mastering guitar, and now look at them." History supports that view. Since you and I can name the individuals responsible for our technological leaps, and our new found knowledge. The key players in music even, but those are a bit more common place. We can name them. But we cannot name their children. Though their children were directly trained by the greatest masters at the youngest age. These individuals come years apart. If it was just environment, there would be more of them, and we'd be farther ahead. You know? it is very special, musical greatness. But I don't think you can fully appreciate it, not appreciate it the way I do. To me, there is something magical about it. It is not just study and books, and practice, and an early start. It is the rare combination of someone with inherent and rare skill sets, and the dedication and influence, and string of events, that combined together make a fresh and beautiful result. I understand that you might not see it that way. But from my perspective. You will not be able to appreciate it as much as I do. It is a much more common thing to you than it is to me. Something we can all do, but have not. To me, it is a level few of us can even reach, and those that do, have their own unique colour from the path they took that shaped them. You might love the music as the music is, as much as I do, and perhaps more even. But I don't think you can appreciate the musician nearly as much. No matter how special you might think they are, that is multiplied by a large factor for me, because a whole extra dynamic of rarity has been added from my perspective. That is what I meant. Last edited by Monk of Funk; 11-20-2013 at 01:51 PM. |
#122
|
|||
|
|||
In other news, I've actually learned a few things from studying this piece since this thread was started.
If anyone is interested, one thing I've decided to train myself better with, is to isolate two strings, and do voicings with only the same two strings, and always those two strings, up and down the neck, and take those, and place them in context of the CAGED scale system. I find this is getting me a nice fresh look at the fretboard. I think i'm gonna practice this for a bit, and then post a session of the fruits of my labour. It's too bad I didn't do a before and after. That would have been cool. I'm also going to increase that to 3 strings next, and then potentially 4. Last edited by Monk of Funk; 11-20-2013 at 01:52 PM. |
#123
|
|||
|
|||
So do I. I will therefore assume you can show me why my position is more simple than possible. If it is possible, then you should adopt it by that logic. If it is impossible, you should be able to show me why.
|
#124
|
|||
|
|||
"The musical modes differ essentially from one another, and those who hear them are differently affected by each. Some of them make men sad and grave, like the so called Mixolydian; others enfeeble the mind, like the relaxed modes; another, again, produces a moderate or settled temper, which appears to be the peculiar effect of the Dorian; and the Phrygian inspires enthusiasm." - Aristotle.
Me, I'm in one of those relaxed modes....
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#125
|
|||
|
|||
Which is what I don't have.
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |