The Monster.. Recall..

Bill Hankey · From: Pittsfield, MA, USA

Possessing a retentive memory, and avoiding intermittent phase-outs of learned techniques, can make important progression levels soar. Is recall an universal problem, or does it rate of little importance to the "average" steel student?

Larry Bressington · From: Nebraska

Universal to mankind!
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Jim Cohen · From: Philadelphia, PA

No offense meant Bill, cuz we'll all get there sooner or later, but it's also age-related...
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basilh · From: United Kingdom

what's age related Jim ?

Bent Romnes · From: London,Ontario, Canada

Ric Epperle · Posted 27 Oct 2008 9:27 pm

Try Ginkgo Biloba.. Wink

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Bill Hankey · From: Pittsfield, MA, USA

Bona fide exploration of steel guitar instrumentals such as "CRAZY", or should I say, parts played to enhance the total sound of female singers, can prove to be worthwhile in practice. Willy has a way of slipping in diminished sevenths, and maj7ths, in most of his material. It's not a problem, with the exception of "CRAZY"'s pop intervention, introduced in combination with the blissful minor positions, that are to me the main attraction written in the song's chord charts. Most of the bass players have adapted a walk down from "C" to the "A7" chord. I'm in favor of slidding into the "A" position from an Ab position. I spent a few hours off and on trying to make some sense of the crazy arrangements that are still going strong. I'm wondering if those of you who have found the chord changes to be a lttle too "pop" to be classified as part of a steel guitarist's stronghold of classic melodies? Oh, BTW, I'm aware that Patsy sang the song in an odd key. I believe most of the popular steel guitarists are comfortable playing between the 5th and 12th fret, due to the nature of pitch ranges. As with a Spanish guitar, I feel that there would be an area of study in dissecting these important differences in relation to better performances.

Pete Burak · From: Portland, OR USA

Ben Lawson · From: Brooksville Florida

I have some of that ginko stuff............I don't remember where I put it.

Bill Hankey · From: Pittsfield, MA, USA

Many problems can be solved IF a person refuses to stop searching for answers. The acceptances of inevitable unpleasantness is at the starting point of dealing with RECALL. Notes are helpful, provided they are written in a manner that will leave no doubts in getting back to the original text that
does not connote other meanings. I've scribbled many notes that have become meaningless. I've completely lost "licks" through hurrying and scrawling notes. Care should be taken, to make possible revisiting licks that bear the marks of originality.

Mike Shefrin · Posted 28 Oct 2008 10:19 am

Fortunately I'm blessed with an excellent memory. People I know are always surprised at the stuff I remember, but I'm always equally surprised that they don't remember. I believe recording yourself while playing or practicing is a helpful way to remember stuff, and a good way to monitor your progress as well.

chris ivey · From: california (deceased)

what was the question again?

chris ivey · From: california (deceased)

what was the question again?

chris ivey · From: california (deceased)

what was the question again?

Danny Bates · From: Fresno, CA. USA

Chris,

Please click the footswitch on your echo.....

Bill Hankey · From: Pittsfield, MA, USA

Mike,

Explicit musical language, I feel, surpasses other methods of recall. The only problem with memory is that it provides very small percentages of recall. Take for example a page written with numerous names and dates. It would be useless for a reader to try to recall small percentages of names or dates. There are rare exceptions who demonstrate unbelievable recall of faces and names. I know of none here in Pittsfield, Ma. who can accomplish such a feat. Musically, recall must be associated with repetitive exercises on the instrument of choice.

Steve Feldman · From: Central MA USA

Mike Shefrin · Posted 28 Oct 2008 4:28 pm

Bill,

You wrote "Explicit musical language, I feel, surpasses other methods of recall."

I'm not sure what you meant by that. Are you referring to written music or tablature when you say "Explicit musical language" and what "other methods of recall" specifically are you referring to here? Kindly clarify yourself as I found this somewhat vague, and confusing. When I suggested recording (using a taperecorder or other recording machine) in my previous post, I meant as a reference device to aid in recalling ideas that one may have forgotten over time.

You also said "The only problem with memory is that it provides very small percentages of recall."

That of course all depends on the individual's memory capacity, and is also subjective to the amount of material that he or she is memorizing.

You also said" Musically, recall must be associated with repetitive exercises on the instrument of choice."

On this point I am in agreement, although some people need to repeat stuff over and over until they "get it" while others will grasp it in a quicker amount of time. I used to play classical guitar and played Bach fugues from memory. I was able to do this by learning the piece in sections, memorizing each section, and then putting all the sections together. Granted, I was younger when I did this, but I can still play some of those fugues from memory today. The "muscle memory" of some of these Bach pieces is etched into my brain somehow. The great Frederic Chopin once said "Once you learn Bach, you never forget him." I have to agree with him.

Mike

Bill Hankey · From: Pittsfield, MA, USA

Mike,

Your recall is quite impressive, as well as your accomplishments in classical music. Thanks for sharing some of your experiences here on the forum. I've been aware for some time, of the differences ascribed to, in making statements that are difficult to add credence to, if the literary sense is unclear. "Explicit language" was meant to invite the focusing upon written musical notation that is free from confusion. Sorting out each important step to take, while excluding unrelated commentary, helps to quickly track an elusive "lick".

There are those "licks" that are glued to our memories, and are forever poised to entertain those who may enjoy hearing them for the first time. We musn't assume that others are familiar with "licks" we've played countless times.

When I suggested that our memories provide us with small percentages of details of experiences in past years, I believe it may prove to be a reasonable notion on my part. I would guess that our recall of actual living experiences, quickly fade, and only small percentages such as segments of dreams remain vivid throughout our lives. How are minds separate details and devise methods of recall is unknown. The diaries kept in secrecy would reveal and support how memory needs to be looked upon as the leading contributor of success or failure. The fact that as a rule, our capabilities exceed our mindsets involving foresight. A most valuable method of tracing memory loss occurs when a close friend asks if you remember a situation of which you have no recall.

Mike Shefrin · Posted 29 Oct 2008 5:14 am

Thanks for making your points clearer to me, Bill. I appreciate that, and now understand what you were saying, and sorry for any misunderstandings on my part. I find that when I do forget something such as an actor's name for example, the more I try to think of it, the less I am able to remember it, whereas if I don't think about it too hard, the name just pops into my head after a little while. Funny how that works. Sometimes going through the alphabet helps to jar my memory also, but that doesn't work with music. I've heard it said that our minds actually remember everything but that we don't know how to access all those memories. Kind of like having lots of stuff on a computer, but being clueless as to where to retrieve a specific file or folder buried amongst hundreds of thousands of other ones. It's also remarkable how sometimes a mere scent can trigger a memory of something from one's childhood that one may not have thought of in years. "Involuntary memory" is a conception of human memory in which cues encountered in everyday life evoke recollections of the past without conscious effort. Its binary opposite is "voluntary memory", a deliberate effort to recall the past. French author Marcel Proust coined the term. Speaking of memory and steel guitar, I would like to mention that Lloyd Green is someone who possesses an amazing memory. Interesting topic you chose. Smile

Barry Blackwood · Posted 29 Oct 2008 5:53 am

Alan Brookes · From: Brummy living in Southern California

Barry Blackwood · Posted 29 Oct 2008 7:03 am

Bill Hankey · From: Pittsfield, MA, USA

Mike,

I have been keeping on the shelf a golden egg called the "Bridge Of I Fall To Pieces". The rundown before presentation would include two ladies who raise the hair on the back of the head singing in harmonious accord. There are just a few chords that create the necessary pizazz that have been long overdue in the bridge of "I Fall To Pieces". It's an excellent steel instrumental to joggle a sluggish audience into listening to what a steel guitar can do.

Bill Hankey · From: Pittsfield, MA, USA

Barry,

Faux pas seem to fit perfectly within a steel guitarist's realm of hectic explanatory sessions. Particularly, if they don't wash in the eyes of acclaimed perfectionists. It becomes a masked "horror" chamber of fears and doubts, when at times players offer little advice to a starving community of inquisitive musicians. Whatever the masked contrivances have developed into, the obvious faux pas are strewn about in a society of players, who ardently look for answers through inquiry. Trying to maintain communicative activity, within able minded constituencies invariably settles into a familiar faux pas, labeled no responses. Testing the patience of leaders in the art of playing steel is not advised.

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