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Discussion in 'Jazz Technique [DB]' started by lermgalieu, May 14, 2003.
My teacher taught me to vomit today.
Thanks for the tip, I'll start incorporating that into my lesson plans as well.
You must mean Gary Karr's shifting exercise. . .
If it's something else, get a new teacher!
It may hurt the tone but I would suggest covering the F holes before your lessons.
Should make clean up a breeze.
I have now figured out how truly pathetic this Basement Gorham is.
I'm am already tired of people vomiting onto my gig shoes, that's why I retired from 2x4 playing.
Arco arco man,
i just wanna be
an ARCO man.
A little Village People for you from the
Piking Villager ...
my poodle smiles,
smiles, we don't need no damn smiles ...
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JEEZ, NO SENSE OF HUMOR WHEN I ADDED 356 SMILIES.
May the Village people you dream of all smell like old camels, just like the first wife...
Yeah the shifting exercise. I had fun telling people that I learned how to vomit all day. I wore it out.
Enlighten the great unwashed WORMGLUETWO. How do you vomit?
With yer bow, play for example a open string, then slide up to the octave, then with another bow stroke slide down. Or slide up to the fifth above the octave. Or start on, say, Ab on the G string and slide up to that octave and down. A good warm up...
I still have no idea of why its called vomiting.
Gary Karr calls it "Vomit" because you "throw up" your arm, and also because doing these for more than about five minutes will make you want to. . .
Oh, THAT vomit. I thought Lermy was studying to be a runway model.
Thank you ladies and gentlemen.
It's been a while: should there be an audible gliss when doing this exercise? The way I understood it, you're going for a clean shift, minus gliss.
audible, I think - at least how I was doing it.
Audible for sure. Then (after 20 years of doing them!) you can hide them by backing off the bow weight during the shift.
Where in the repertoire would you shift an entire octave on one string? How does throwing your arm up and down the fingerboard in a way you'll never really do in performance practice inform your technique? Why not spend the time practicing shifts you'll actually do?
yeah, how about scales and arpeggios,
also, what about not making a gliss when you shift, pick your bow up or stop it on the string when you make your move.
Sing it, play it, compare. mental
Remember, WORMBALLET plays a fair amount of improvised music. In my experience (jazz), this kind of shifting is pretty common. When improvising, you're playing what you hear, and it's not uncommon to "hear" large leaps when improvising on the G string. I think it's a fine exercise - Rufus Reid had me doing this when I had a lesson with him a few years back, and I think practicing this technique has helped me to get over my fear of leaping large intervals in mid-melody. YMMV.
It's simply a matter of knowing your way around the instrument, because every season you're going to encounter some hair-raising shifts. Linda McKnight uses the less glamourous name "target practice". The drill involves shifting every interval there is and bowing the note under 1,2, or 4 (or 3)in the new position. And the shift is inaudible. As the interval increases, so is the possibility you'll want to vomit.
I haven't spent any considerable time doing this, maybe 2-3 minutes when I practice. It gets you warmed up and gets the fingerboard feeling homey...I don't really think it matters whatsoever if you're going to be doing a shift exactly like this (same intervals) in your tunes. Anyway, I found it to be useful...take it or leave it. I like the name more than anything.
Hey Alex, just noticed your post. Where do you get that I don't do scales and arpeggios? Just curious. Don't make an assumption that this is the total regimine I follow, that would be silly, and seems a bit like you want to assume the worst.
encouraging, not dissing, remember not to generalize....
Yeah, Lermgalieu, I'll follow your lead any day on the vomiting exercises. It helps not only my left hand to find the notes on the fingerboard but also my bowing hand to make the necessary corrections to maintain a quality sound.