Leaping The Frog: I Think I Answered My Own Question?
- Thread starter Paleo
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Interesting.
Now as an experiment try it playing as triplets and see if it changes. I'd be interested to see if you find a difference going up and down when the meter and the phrase are not the same.
For me when I play a 4 note sequence up (such as these below from Pentatonic Power):
I can't play it as fast going down, just the opposite of what you found. So I wonder if it is the counting thing and not a directional thing.
But, now I find this really interesting, when I play the four note sequence as groups of triplets instead of as written above, I can play it faster down than up.
Additionally, three note sequences like these below are the same speed either way. Again, I wonder if it is the counting thing.
Eric
Now as an experiment try it playing as triplets and see if it changes. I'd be interested to see if you find a difference going up and down when the meter and the phrase are not the same.
For me when I play a 4 note sequence up (such as these below from Pentatonic Power):
I can't play it as fast going down, just the opposite of what you found. So I wonder if it is the counting thing and not a directional thing.
But, now I find this really interesting, when I play the four note sequence as groups of triplets instead of as written above, I can play it faster down than up.
Additionally, three note sequences like these below are the same speed either way. Again, I wonder if it is the counting thing.
Eric
Paleo
Student Of The Blues
This takes me back to when I first did Griff's PSTM course. It may be promoted as a technique and learning the boxes course, but it was where I actually learned how to count.
For me it's actually hearing a "melodic" phrase or pattern within the exercise, grouping the notes into 6, 8 or 12 note "phrases".
As always, it's easier for me to demonstrate than try to explain by text.
This are Griff's patterns of 3's and 4's using Box 1, similar to the tabs you posted above.
https://dl.dropbox.com/s/3pm8cse844i14zt/Hearing Aids.mp4?dl=0
For me it's actually hearing a "melodic" phrase or pattern within the exercise, grouping the notes into 6, 8 or 12 note "phrases".
As always, it's easier for me to demonstrate than try to explain by text.
This are Griff's patterns of 3's and 4's using Box 1, similar to the tabs you posted above.
https://dl.dropbox.com/s/3pm8cse844i14zt/Hearing Aids.mp4?dl=0
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Paleo
Student Of The Blues
When I listened to the audio tracks in Griff's course I was surprised that they all sounded exactly the same.
However, the metronome was very faint in the background and when I listened for that, it sounded out of whack.
Then I realized that the notes were actually falling on different beats and each track wasn't the same.
For instance, if you listen to me play one of your example in 3's, you can actually still count it in 4's to yourself. Without a metronome or beat in the background you can count it any way you want to: by 1's, 2's, 3's, 4's, etc.
https://dl.dropbox.com/s/ees3pv3ui518xz6/Examples.mp4?dl=0
I also think I discovered that Exercise 11 is a bit more of a "finger twister" going up.
However, the metronome was very faint in the background and when I listened for that, it sounded out of whack.
Then I realized that the notes were actually falling on different beats and each track wasn't the same.
For instance, if you listen to me play one of your example in 3's, you can actually still count it in 4's to yourself. Without a metronome or beat in the background you can count it any way you want to: by 1's, 2's, 3's, 4's, etc.
https://dl.dropbox.com/s/ees3pv3ui518xz6/Examples.mp4?dl=0
I also think I discovered that Exercise 11 is a bit more of a "finger twister" going up.
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In fact, this is the sort of thing I use to mess up my private students all the time
I LOVE this sort of thing - take a 3 note pattern (like leapfrogging twice=3 notes, or doing a sequence of 3 pattern where you play 3 in a row) but play it in sixteenth notes.
That sort of thing in triplets is usually easy, but in sixteenth notes, even though the notes are EXACTLY THE SAME, it'll really mess you up in a hurry.
But if you push through that, it REALLY cements your timing and your ability to control the rhythms in your playing.
Hard=Good for you
I LOVE this sort of thing - take a 3 note pattern (like leapfrogging twice=3 notes, or doing a sequence of 3 pattern where you play 3 in a row) but play it in sixteenth notes.
That sort of thing in triplets is usually easy, but in sixteenth notes, even though the notes are EXACTLY THE SAME, it'll really mess you up in a hurry.
But if you push through that, it REALLY cements your timing and your ability to control the rhythms in your playing.
Hard=Good for you
Oh... also... when I first learned this (or made it up, I can't remember where it came from) I only did ascending, I didn't think to do descending.
For years I only played it ascending and then one day figured I should play it the other way, so it's never been quite as easy for me as it was for you. I firmly believe it's because, as a melodic device, it's more commonly used descending... so your ear is just more used to hearing it that way.
For years I only played it ascending and then one day figured I should play it the other way, so it's never been quite as easy for me as it was for you. I firmly believe it's because, as a melodic device, it's more commonly used descending... so your ear is just more used to hearing it that way.
Paleo
Student Of The Blues
Maybe it all comes down to some kind of "musical gravity".
It's a lot easier to fall down than it is to climb back up.
And this whole discussion is why I try to "promote" PS&TM every chance I get.
Counting 8s & 16s in patterns of 3 and triplets in patterns of 4 forced me to figure out how to COUNT.
It's a lot easier to fall down than it is to climb back up.
And this whole discussion is why I try to "promote" PS&TM every chance I get.
Counting 8s & 16s in patterns of 3 and triplets in patterns of 4 forced me to figure out how to COUNT.