technical_067

technical_067

status
in progress
level
intermediate

combining techniques with other techniques, transcending technique, language

like try doing thumb fretting with finger picking, or with swybird. or cimbine hammer ons with swybrid etc. or hammer ons with harp harmonics, things strt to sound ethereal. combining technqiues is where the gold is at, as lines become blurred, boundaries broken. things feel less compartmenalized and square, and more abstract and fluid. because in reality, there is no such thing as guitar technique, just like there are no such things as seperate domains of human inquiry like math or science, its all just a matter of labeling, collating, and quantifiying for the sake of the minds' attraction to organization and parsity. dont worry about it. transcending technique

after a while, things just clicked and fell into place. i feel a sense of language when i play and write now - guitar as a langauge now, and even deeper, as a philosophy now.

sep/ essay - is everything everything else? a remix? etc//

//like hammer ons and picking = selective picking really. but the reason why this is classified as its own techique is because of its INTENT. it isnt just about mechanics or the sum of total parts. it is the intent that comes before and sound of intent that comes after that matters. selective picking is more than just hammer ons and picking, it is edge, it is zest. it is intention. it is purose.

after a while, things just clicked and fell into place. i feel a sense of language when i play and write now.

in essence, after years of advancement. what you cannot do becomes a part of the toolkit of what you can do. that is to to say, it no longer becomes what you can and cant play, but rather, you espouse a language with your guitar playing, and what you CANT do becomes just as artisically expressive as what you CAN do.

, and as such, there comes a certain point where you let things be, you let your "imperfections" be, because thats there a lot of character an flavour lies. it no longer feels/sees/exists as a dichtomony between techniques you can do vs. techniques you cant do. the lines become blurred, and what you cant do becomes integrrated with what you can do, it is sprinkled on or blanketed on as the residual character, it becomes one whole language
existential_005
. and i see this manfest in my playing. i love the residual noise of barre chord sweeping. like im not going to go the extra mile of cleaning it up with muting every other string (i can!), because i happen to like it the way it is. i love the noise. but i cannot use this as an excuse for laziness. i must at least try and perfect it, for i must be able to do something before i can artistically claim that i decided not to do it for the sake of artistry.
framework_014