See Kris' vimeo page for videos of 5 of the 7 moves: https://vimeo.com/user5024037/videos
(still uploading when I left!)
Focus for today will be on sequencing and "zooming in" on weaknesses.
Each of us will pick a different "sequence" of the Hot 7 with the goal of playing it confidently (but not necessarily perfectly) by the end of the practice. The sequence can be as ambitious as each person wants it to be. We will be switching between memorizing the sequence through repetitive drills and "zooming in" on problem areas.
Mastery, as defined by Keith Werner - Being able to play the material perfectly every time without thought.
For something to be mastered on your instrument, it must feel as simple as playing one note.
A lack of familiarity makes something seem more difficult.
You should stay with one exercise until mastery has been achieved. For example, when you practice one line over chords in a difficult key, there are many lessons to be absorbed: the difficult key, the chords, a line that makes more sense than the lines you can play in time, the required rhythmic intensity, the technique and fingering needed to play the line very fast, and the exposure of little glitches that inhibit your playing in general.
Werner urges us to spend a lot of time with as little material as possible, and deconstruct it and really understand it as much as possible. When I am learning Squarepusher, I am constantly having to move on knowing that a certain movement or pattern is not executed or played correctly. I still have not been able to do the double-hits on Line 1 of Grv 1 because I have moved on. I think I need to stick with the double-hits until I can play it effortlessly before I move on. I know this psychologically will build a lot of confidence for me, because the double hit is the fastest succession of hits (in terms of arm speed) compared to any other part of the song.
Relaxed Focus - having the discipline to perform arduous tasks while remaining soft and supple on the inside, as muscles not needed for the task are at rest.
If you allow your body to learn without interference from your mind, it will learn what it needs to perform the task. I don’t get my technique from studying technique. I get it from letting my arms and hands find their way without my interference. Werner had a student that had to stomp his foot to keep the beat, so when his foot got tired, he would lose the beat
When focusing on one thing, the mind will move on to other things that need tending to, not allowing you to focus on one thing.
Skimming the surface refines bad habits which in turn becomes ingrained in your subconscious. This is the danger of negative practice, which Werner believes is worse than no practice. Not laziness, but a sense of feeling overwhelmed that prevents us from real practice.
How many times have I felt insecure and overwhelmed with all of the things I need to work on? Through Werner’s book, I was able to remind myself that the only way to work on things is to work on them, one by one haha.
Fear has ruined your practicing by rushing through the material. If you don’t stay with the material long enough for it to feel comfortable, it doesn’t stay with you. It does not pay to move on until something is mastered.
Sharon is going to work on her Auld and Tribeca arm swing to initiate a "chit" sound, Janelle is going to work on her beginning murder movements, tribeca body placement, and murder kakaka kadoko part.