.-----.   .----.   .-----.  .-----.         .---.  .----.           .-----.  .-----.  
/ ,-.   \ /  ..  \ / ,-.   \/ ,-.   \  .-') /_   | /  ..  \    .-') / ,-.   \/  -.   \ 
'-'  |  |.  /  \  .'-'  |  |'-'  |  |_(  OO) |   |.  /  \  . _(  OO)'-'  |  |'-' _'  | 
   .'  / |  |  '  |   .'  /    .'  /(,------.|   ||  |  '  |(,------.  .'  /    |_  <  
 .'  /__ '  \  /  ' .'  /__  .'  /__ '------'|   |'  \  /  ' '------'.'  /__ .-.  |  | 
|       | \  `'  / |       ||       |        |   | \  `'  /         |       |\ `-'   / 
`-------'  `---''  `-------'`-------'        `---'  `---''          `-------' `----''  

100days of guitar day 43

Practicing against a jam track is more fun the just practicing against nothing.

100days of guitar day 42

The Practice of Practice

If you want to keep getting better, you have to reach beyond the horizon of what you know, beyond your current ability, whatever it is. But how can you know what you don’t know? Only through experimentation. That’s why a creative approach to practice is so crucial, because that creativity and willingness to change things up helps you figure out how to practice. Even veteran musicians bump up against their limitations and get stuck.

"A creative approach"; add variety to your practice routine, or in some cases don't even call it practice, just play in such a way that you are currently finding new ways to push yourself forward.

Just practicing the same song over and over can get old, so work on adding variety to what you are doing. Just writing short notes from the book has helped add variety to my practice.

Day to day

Still practicing, having some trouble with a technical bend part.

finished the Practice of Practice, and now I'm moving on to the next cult classic: The Inner Game Of Music

100days of guitar day 41

The Practice of Practice : book

Even if the musical skill is automatic, it still takes a great deal of your cognitive processing power to actively make music. For this reason, you’re literally unable to focus your full attention on listening to the sounds you’re making.

When you return to the recording you can listen with your full attention.

When you practice, you don't have the mental capacity to both practice and look for mistakes in your playing. So record your practice and come back when you can spend all your mental energy just focusing on looking for places you can improve, or mistakes you can fix.

Some of the things you could listen for when reviewing your practice session (from the book):

Set aside time to play with sound

Experiencing and producing improvised sound is a great and—I would argue—necessary addition to your daily practice routine,

You can assess and think about what you hear, even talk about it, but don’t apply anything as limiting as “good” or “bad” to what you hear.

Do not fear mistakes. There are none.

Spend time just playing with sound. Don't worry about what it sounds like, just see what sounds you can make. Today I was playing with Albton's Note ; nothing really in mind just doodling with sound.

And daily practice

licks, and boxes. Need to get back to working and fretboard memorization.

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