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From: cryforhelp
Date: Thu, 14 Nov 1996 11:39:15 -0800
Subject: Re: Timing: Playing vs. Listening

Barry B. Bean wrote:
>
> As far as I'm concerned, the real question is:
> Why is it that when I listen to old sesions, my lapses in timing are
> blatantly obvious to me. But at the time, and when I play, I am
> seldom aware that my timing has drifted in the least. Seems like the
> same mechanism that recognizes timing should be there on both counts,
> shouldn't it? Or does that act of playing use up resources that the
> critical "timing center" needs?
>
> BBB

This is true for timing; it is also true of pitch, intonation, melodic
invention, speaking, writing, body kinethetics, etc. Tape recordings of
real, spontaneous conversations are a riot, in places they barely
resemble language, yet at the time the speakers were in the "zone" and
convinced they were communicating. Set up a video camera in your living
room and tape yourself some evening; you'll cringe when you watch the
tape.

Barry's onto something about piercing this fog we go around in, in order
to reach another musical level. It looks like its going to be a tough
act though. GOLDWAVE is helping me a little during practices. I can
set it up to get instantaneous feedback, much easier and more versatile
than tape, for five minute segment lengths. It's a terrific program,
shareware on the 'net at
http://web.cs.mun.ca/~chris3/goldwave/goldwave.html.

- --cryforhelp--

TFTD: Oh wad some power the giftie gie us
To see oursels as others see us!
--Robt. Burns