sbhikes wrote:
Oh well, I guess it's just me that this method seems so complicated. Maybe I'll get it someday.
Its not really that "overly" complicated.
But this isn't a simple thing you are trying to learn you know.
You got years ahead of you so take it easy mate.
I dunno, his book seems rather well thought out to me.
But then again, I already read music and that doesw help. In fact I think he says so in the book.
A basic observation of watching others play... other than Grey's idea of generally cutting the note just above on rolls, instead of say, always cutting with T1 whatever, the general concepts he has of making all those twiddly bits seems pretty universal to me.
You can't fudge a solid tap/strike or a cut.
Its all a matter of how much practice you put in.
Do the lessons until you can replicate what you hear on the disks.
I'm sure others may come in here and say "Oh that Grey... yadda yadda"
Don't give up on Grey's book.
I keep comming back to it and finding things I missed or misunderstood the times around (its quite dog eared now)
There is tons of good stuff in there.
Oh, my advice... and it will make some of the purests scream... learn to read music.
It won't kill you or ruin your ability to play ITM.
You'll have noticed Gray used all of this new notation for ornaments. It comes in handy when you eventually transcribe something by ear.
But get beyond the mechanics and the detailed examples and it ain't so hard. I made a one page summary for my notebook.
) was just try to play tunes without tonguing, completely legato, and where it was necessary to separate notes of the same pitch or to give a rhythmic emphasis or stronger attack to a note, use one of the basic ITM ornaments - cut/tap/roll - trying out which seemed most effective in that particular location with reasonable facility. Later, when I learned to cran, roll "over-the-break" etc., I applied the same philosophy to making use of those techniques. Ditto for diaphragm pulses for rhythmic emphasis.
