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Author Topic: Mental imagery  (Read 8203 times)

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Jozz

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Re: Mental imagery
« Reply #60 on: February 15, 2018, 12:03:30 PM »

Yes, I understand what you mean about the balance between consious-too consious, but if there is a potential for "disaster", then maybe the piece still needs some work first.

It depends on your goals of course.
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Eshed

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Re: Mental imagery
« Reply #61 on: February 15, 2018, 12:38:31 PM »

One of my favourite disasters is when my RH gets carefully out of sync with my LH - basically I hit an issue in my LH but the RH fails to notice, so when the RH comes back to its senses, I'm suddenly playing with perfect rhythm but an offset of a single beat between the two hands. This can go for a second or two until I stop the cacophony.

With regards to conscious playing, I'm pretty sure think that my bass choices are mostly conscious, I can always name what bass and chord I'm playing and if I vary the basses between repetitions, I remind myself a second or two before getting to the tricky part which bass (note, not button) I'm supposed to play. The melody however is entirely different, I have no idea what notes I play and figuring which buttons I press may have mistakes if I'm not holding the box (and sometimes also if I do hold it ;D)
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Send me a private message or comment on the German Accordion Problem spreadsheet to improve the statistics of the project and get an estimate of the production date of the box if it is not known.

Tone Dumb Greg

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Re: Mental imagery
« Reply #62 on: February 15, 2018, 12:46:05 PM »

Yes, I understand what you mean about the balance between consious-too consious, but if there is a potential for "disaster", then maybe the piece still needs some work first.

It depends on your goals of course.

For me, this balance is not really dependent on how well I know the tune. It's more to do with how much conscious attention is paid to the mechanics. This depends, at least in part, on what I am doing differently to usual. I quite like to add variation when playing "live", so it can be a danger. In practice, the more musicians I am playing with the more inclined I am to take risks but, the less obvious is my adding my take to the tune. It's a trade off.

I have, at least, trained the rest of the band to carry on playing if I stumble for a moment or two. They used to just stop dead, waiting for me to pick it up again.
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Greg Smith
DG/GC Pokerwork, DG 2.4 Saltarelle, pre-war CF Hohner, Hohner 1040 Vienna style, old  BbEb Hohner that needs a lot of work.

ACCORDION, n. An instrument in harmony with the sentiments of an assassin. Ambrose Bierce
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