Daydreaming and the Theory of Relativity

For any of you readers that take the time to check out this blog, whilst at work, I have some good news.
I found an article in the 'Los Angeles Times' that could give you the power you need if your boss finds you surfing the internet.

The author, Eric Weiner, has written an article about the results of a survey carried out in America.
Apparently, the average American worker 'wastes' slightly more than two hours a day, not doing their job.
The number one culprit is surfing the internet and sending personal emails.

However, Weiner points out that Americans shouldn't feel guilty about this, as they lead the world in worker productivity.
He also says that as jobs are increasingly intruding on our leisure time that the 'blurring' of the work/play divide should become equally hazy.

Weiner uses an excellent example of how workers need time to dawdle and dream to be productive and creative.
In 1905 Albert Einstein worked as a clerk in a Swiss patent office, and was a self-confessed slacker, or, as he himself put it, "respectable federal ink pisser".
But it was whilst gazing out of the window that he had the insight that led to the 'special theory of relativity'.

So, according to Weiner, we shouldn't feel guilty about daydreaming and broadening our minds by distractions at work, as who knows where it will lead.

In fact, Weiner has a book out in January, published by 'TWELVE', 'The Geography of Bliss: One Grump's Search for the Happiest Places in the World'.
I'll be getting a copy.
Anyone who tells me it's OK to take a coffee break, surf the net and daydream, are certainly worth investing in.

I'm not sure how that all equates to the UK work ethic,or anywhere else in the world for that matter, but I'm prepared to over look that minor detail as the theory fits in very nicely with my general way of thinking.

So whilst I have been gazing out of the window to fuel my creative tendencies, Robin has been over at Leeds University, working hard with a number of guitar students.
As far as I know, he hasn't been looking out of the window, but only because there aren't any in the teaching room he uses.

But now I'm off to gaze out of the window, surf the net and generally daydream in a completely guilt free manner.
Thank you Eric.

'See' the Sound Waves and Improve Your Scales

Why is it that students of any musical instrument seem to dislike the idea of practising scales?
They are often viewed as a chore, and something to 'get through', before more interesting practice can be undertaken.
But all students need to understand the benefits they will gain, by dedicating a section of their daily practice routine, to this essential task.

As Andres Segovia once said:

"The practice of scales enables one to solve a greater number of technical problems in a shorter time than the study of any other exercise."

So, on the classical guitar, and any other instrument, students really need to start viewing scales as their friend rather than their foe.

I thought it may help if you could visualize a scale:



From this example, you can see how uniform the sound waves are, equally spaced, and each note separate and distinct.

Now, if you look at the next wave form you'll immediately see the difference:




This looks very different because there is an awful lot going on!
It is the wave form for a rasgueado.
The waves are larger due to the increased volume, but, you can also see that so many notes are being recorded in the same fraction of a second, that it's hard to distinguish each individual one.

Robin is an advocate of 'silent practice', and, 'hearing' the notes in one's head a split second before playing them.
Now, you can keep these sound wave images in your mind and try to 'imagine' the regular and even form that your scales should take.
Good Luck!

Classical Guitar Students at Leeds University and then to Recording

Robin now, at last, has a spell at home, which we are all very pleased about.
He has quickly settled back into family life, aided by the fact that it is half term here, so both boys are around all day, and eager for his attention.

Today, however, he had to go over to Leeds.
His students at Leeds University, have been very patient, and it is the first time he has seen them this semester.
Robin has just not been here, as he has been away so much recently, giving concerts in a variety of places.
But, the course at Leeds is a performance one, and who better to guide potential classical guitarists, than someone who is actively out there doing it.
It's one thing to read about performance, and, another thing completely, to be up there on the stage.
So often you hear of teachers who never even pick up a guitar during lessons.
It makes you wonder how on earth they put across any information.
So Robin has put his students through their paces and is now back home.

One thing Robin has been desperate to get on with, is some recording, and now, there appears to be a window of opportunity.
His time away hasn't been wasted though.
Many of the pieces he currently performs will be recorded, and, he has been working on many others.
There are also a few surprises up his sleeve which I hope to tell you about as we go along.

The timing, as always seems to be the case, isn't perfect.
Two small boys around the house all week doesn't make for the quietest of environments.
However, they are very aware of the significance of the 'red light', so hopefully, the recording sessions will go uninterrupted...

Preparing For A Concert - 'The Guitar Gymnasium' Way

Guitar students, and also members of audiences, often ask Robin how he prepares specifically for a concert.
So I have taken a small extract from his book, 'The Guitar Gymnasium', to offer you a little insight.

"For the week preceding the concert, I play through the programme in it's entirety at least once, and often twice, a day. I isolate particularly difficult sections and practise them slowly, sometimes changing the fingering if I find a better one, and, as usual, I practice an array of technical exercises.
It is very important, during practice, to be aware of any bodily tensions, however slight, which will, under the strain of live performance, be magnified at least tenfold. If one identifies and addresses them in the practice room, they are less likely to surface in the concert hall."

There's a whole chapter on 'Performance and Practice' so this is just a little taster.
It is however particularly relevant this week.
Robin is preparing for another trip away and is currently rehearsing three different 45 minute programmes.
As you can imagine, this requires an awful lot of time and patience, if you are going to play through all the programmes at least once, if not twice, a day.
Consequently our days are pretty long at the moment and his fingers are working very hard indeed.
Not to mention his brain, as, Robin performs entirely from memory.

For anyone interested in reading more of 'The Guitar Gymnasium', then check out the LINKS section where you can order it from the UK, USA, or direct from the publishers, Mel Bay.