Solo un pensiero During one of the lessons I've had recently held a kind of enlightenment, in my opinion is one of the best advice ever given, so I decided to put pen to paper (white on black, in this case! ).
happens that some musicians, among whom I was there at the beginning del percorso di studio si scontri con una serie di problemi, anche grossi. Spesso sono legati alla mobilità delle mani, al senso della coordinazione e del ritmo, alla teoria e via dicendo. E' normale, data la complessità della materia.
La soluzione che viene messa istintivamente in pratica, però, è la ripetizione di un movimento o di un esercizio che lo faccia "venire bene". Ma quello che di solito manca (anche tra persone che si esercitano da anni) non è tanto l'esercizio fisico, ma il
pensiero musicale in genere.
Quando qualcuno inizia a studiare ha infatti due possibilità: suonare, ripetendo meccanicamente i movimenti fisici per creare una così detta "memoria muscolare" oppure affiancare the technique that I call musical thought, which is the
ability to understand and make sense of sound events . The second option is preferable because the first steps of learning should be aimed not so much the sheer physicality, but the ability to refine the techniques of perceiving and thinking about music. At the same operating hours, imagine what path can lead to better results.
But in practice? Someone will ask. In practice, they should mostly sing
and this applies to all instruments. Singing
means having the physical experience of sound, hone the ability to tune in and listen, and since music is the art of managing sounds, the benefits on your favorite instrument will be a natural consequence. not only sounds repeating "blindly", then, but sing, listen with interest to create a sense of what we perceive, talk about music with friends, read, interested in the mechanisms of the sounds and rhythms, write, rehearse, compose , and so on and so forth. In two words, starting to expand their musical thought
.
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