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Pupule
USA
4551 Posts |
 Posted - 06/25/2007 : 07:58:24 AM
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quote:
Originally posted by Reid
It turns out that Stacy Phillips lives 20 minutes away from me and I'll ask him if he can take me on for some *pointed* classes.
Reid,
One more alternative for you. There is another guy in Connecticut who plays with Stacy Phillips and co-wrote the book Art of Hawaiian Steel Guitar, Volume 2. I can get you his contact info if you want it. |
Andy |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 06/25/2007 : 10:52:17 AM
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Andy, I would love it, thanks.
Al, I know exactly what you mean about Taiji and music. I am a very, very good Northern Wu stylist and I understand each and every purpose in the motions - at every level. It helped me from becoming a cripple. Yet I am still learning and will always be a student.
However, there are certain people who set themselves up as Sifu or Masters, (and charge money for it )and they are not. They only understand the external form and they have no base or root and they do not understand the yi of what they do: yi leads, chi follows. One was an excellent martial artist who could teach the Form exactly because the choreography was set up for him. When I asked serious questions about applications, he had no notion of the purpose(s) of each move, or how to choose between one and another in particular circumstances, and fell back to another variety of Gong Fu to clean my clock - he was a Jes' Press martial artist - could do but not understand. Then, I was taught briefly by a true Master from Beijing - he explained much to me, even through an interpreter, and he could do much despite his advanced age.
The same in music. There are great musicians who can not teach, there are great musicians who don't know what they do or why or how.
I am not a Master Taiji player, but I could teach people some things.
...Reid |
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noeau
Ha`aha`a
USA
1105 Posts |
Posted - 06/25/2007 : 12:55:25 PM
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| Ahh grasshopper we have a little in common. My first sifu spoke no English but when he showed stuff it was as if he was directing it to me directly. I could ascertain what he meant but because of language differences I could not explain it. I am a practitioner of Yang style as taught by Tung Fu Ling and Andrew Lum. but let us keep to the music. Andrew by the way taught individuals according to personality, body type, and skill level. So if that is what you were trying to convey then I understand what you mean. |
No'eau, eia au he mea pa'ani wale nō. |
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thumbstruck
Ahonui
USA
2168 Posts |
Posted - 06/25/2007 : 1:50:09 PM
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| The ability to teach and impart understanding is a gift. Some of us have the points clearly in mind, but not in mouth. |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 06/26/2007 : 02:07:31 AM
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Jack, I owe you. It is amazing how a simple statement can make a big difference: "Remember - to get it smooth, you have to damp with your right hand and "no lift da bah"."
I watched Brozman's DVD and he was lifting the bar, I am watching Lorene's DVDs and she lifts The bar because she starts out teaching string by string, for some reason, and the lessons haven't gotten to blocking yet. So, I lifted the bar. That's what cramped my left hand with the bullet. So, just sliding along in a relaxed way, as you suggested, while damping gently with the picking hand, made all the difference in the world.
I need to get the damping and sliding timing down better and the shorter bullet sometimes makes the top string buzz because I am not placing it as exactly as I should, but, as Al said: "practice". I am sticking with the bullet from now on.
Mahalo nui loa,
Reid |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 06/26/2007 : 02:25:59 AM
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FYI: Stacy Phillips responded immediately. He said,"Sounds interesting" and asked me to call him after July 4 and "see if [he] could help". So, maybe this is going to work out.
...Reid |
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thumbstruck
Ahonui
USA
2168 Posts |
Posted - 06/26/2007 : 03:50:18 AM
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| The older styles that Brozman embodies do contain lifting the bar, as in single string hammer-ons and runs built on them. The smoother style doesn't do that much if at all. I found that I have to keep my right hand a little farther from the bridge than what I was previously used to doing. I took some Swing and Jazz classes that taught "closed position" chords. No barre chords. The instructor, Joe Vinikow, said that playing open chords prevents tendonitis, barre chords are stressful. The same logic must apply to steel and even how we hold the bar. Looking forward to hearing you someday, Reid. |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 06/26/2007 : 06:20:23 AM
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" Looking forward to hearing you someday, Reid."
Me too,Kory :-)
...Reid |
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slipry1
Ha`aha`a
USA
1511 Posts |
Posted - 06/26/2007 : 08:16:00 AM
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quote:
Originally posted by thumbstruck
The older styles that Brozman embodies do contain lifting the bar, as in single string hammer-ons and runs built on them. The smoother style doesn't do that much if at all. I found that I have to keep my right hand a little farther from the bridge than what I was previously used to doing. I took some Swing and Jazz classes that taught "closed position" chords. No barre chords. The instructor, Joe Vinikow, said that playing open chords prevents tendonitis, barre chords are stressful. The same logic must apply to steel and even how we hold the bar. Looking forward to hearing you someday, Reid.
You're right Kory. Upon reflection, I DO lift up "da bah" sometimes, when I'm playing single string runs or when I make a chord with open strings below a fretted string, but not all the time. Most of the time, though, the bar rests on the steel, even when I'm improvising. That's how I get some of those licks you like so much. Again, I'm working in "pockets" around a fret position - 2 frets above & 2 below to constitute the lick. Another example is "How'd Ya Do" - it simply cannot be played fast enough if you lift the bar. It requires fast movements between the 5th & 7th fret (B11 tuning)with right hand blocking to carry it off. |
keaka |
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Retro
Ahonui
USA
2368 Posts |
Posted - 06/28/2007 : 6:50:10 PM
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| I have GOT to get back into doing t'ai chi again...gave it up after ten years, when I started learning hula. Then, I saw how one helped the other; now, I think they could both help with playing music. Good suggestion! |
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wcerto
Ahonui
USA
5052 Posts |
Posted - 06/29/2007 : 01:44:57 AM
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| Menpachi Man is the teacher extraordinaire. So wise...so experienced....so kolohe. You da bes', Menpachi Man. You teach in a fun way, but impart serious lessons. Jus prass! |
Me ke aloha
Malama pono,
Wanda |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 06/29/2007 : 03:03:52 AM
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Taiji Quan *is* serious. Especially for those who need to use it to overcome spinal chord injuries or other disabilities. It is also serious for those who know that it is not simply waving arms and legs and providing entertainment for martial arts movie fans. Taiji is never “just for fun”. It is deep. It is a way of life.
Making music *is* serious. Especially for those with hand and arm injuries that prevent them from making it, and who fight very hard to do so. They fight hard and take it seriously because music is a straight pipe to the emotions; those emotions may be joyful, but they are never shallow and “just for fun”. They take it seriously because music is a way to connect to people they love. It is deep. It is a way of life.
...Reid |
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thumbstruck
Ahonui
USA
2168 Posts |
Posted - 06/29/2007 : 03:33:47 AM
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Real true fun is deep. The shallow kind doesn't build you up inside. Music is communication.
Reid, keep "steeling away", every lick is a victory.
Keep track of the mistakes, sometimes you can use them in other contexts. I've used some to build songs. No fo'get fo' smile! (Hans is always telling me to smile in the polka band. I guess I played Bluegrass for too long!) |
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LovinLK
Lokahi
USA
112 Posts |
Posted - 07/15/2007 : 5:48:11 PM
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| I can't remember who Bobby was playing with the first time I met him but know he was working at Tamashiro Market during the day. |
Lovin' Lee is my favorite pasttime!!
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slipry1
Ha`aha`a
USA
1511 Posts |
Posted - 07/16/2007 : 08:33:30 AM
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quote:
Originally posted by LovinLK
I can't remember who Bobby was playing with the first time I met him but know he was working at Tamashiro Market during the day.
As of the end of April (last time I saw him) he was still there. Remember the musician's first commandment: "Don't give up your day job". |
keaka |
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