nagado bachi (usually larger diameter, harder "kashi" wood)
earplugs
For the most part, the students were able to play all the required parts (Malakas, Murder 1-4, Slowplosion A and B) accurately.
To take things a step further, I felt it was important that students had an opportunity to experience "artistic decision making."
"The thing that I really like about the way Kris plays Jack Bazaar, is the connection between what he's hearing in his head and the sound/movements."
"To simplify, let's take four quarter notes for example. We can hear them as: Dooon Dooon Dooon Dooon, or we can hear them as: Don Don Don Don."
"How would we play the first passage differently from the second?" Demonstrate Dooon (long strokes) vs Don (short staccato strokes)
"How can we apply this concept to the way that we perform Jack Bazaar?"
"Which note in Malakas should be accented the most?"
"Take for example the Kara Kara Kara Kara Don Don passage between Slowplosion A and B - should those be played straight or should they crescendo?"
"How does that affect the overall sound of Slowplosion A and B?"
"Are there any notes that are 'longer' than others?"
"How should we play those notes differently?"
Reviewed Naname Stance - in general students were instructed to take a wider stance
Peer Review - Try to find something that you like about the way your partner is playing each passage. See if you can incorporate these elements into your own playing. When your partner points out something that they like, try to think of ways that you can exaggerate that aspect of your playing.