Originally Posted by vindibona1
I think you're way overthinking it YM. You don't have to ask your buddy. You can answer it yourself. Have you ever seen a racer at the top of the hill before they get in the start gate (of course you have)? What are they often doing. You see them. Eyes closed, hands in front with them twisting and turning as if they were skiing the course. Do you actually think there are ANY mechanical thoughts involved? Perhaps a downhiller thinks about when they should tuck or stand up, but beyond that if they have to think about mechanics they've already lost.
As a performing musician I can tell you that when you put a piece of music in front of me (analogous for "the course") I'll look at it with the goal to hear the sounds the printing represents. A classical vocalist, with no buttons to push MUST hear the musical nuance before uttering a sound. My fingers and face will automatically do what they need to do to produce the sounds represented on the printed page. Now that I think of it, it is the perfect metaphor. The mechanics of an accomplished skier will, like the musician, automatically do what is needed to produce the outcome (previsualized turn shape or sound). The lower level skier needs to learn mechanics as means to execute turn shape, which should be taught from the very beginning with the most natural mechanics possible. TURN SHAPE IS THE MOST IMPORTANT THING IN SKIING. Everything else in skiing revolves around creating turn shape whether it be a racer seeking the line (turn shape) to go fast or the beginner seeking to keep speed at bay.
As you guys know I am a professional trumpet player. It's called pre-hearing in improvisation and visulazation particulalry for brass and singing.
It is 2 different parts of your brain that read and hear. I ccna't remember material I learn by reading the music. But anything I learn by ear is locked in! We use no written music and play an entire nights gig of music including multiple improvised solos.
But both you guys are right.
You have to practice all the mechanical stuff until it is 2nd nature just as SMJ has said. This is mandatory, so you can actually get out of your instrument what it is your are thinking.
But then as V1 says you have to forget all of that stuff and play music! It is the rare bird who knows no theory and can play their ideas successfully. Chet Baker could not read and knew no theory.
He would just ask to have someone play the changes and he knew what to play. ON the other hand Miles, Roy Hargrove and many greats, knew/know exactly what they are doing and play just as musically.
So it is a combo of technique and artistry just like skiing. It is difficult to have one without the other.
For example when I am out cruising with the average skier friend on some wide open blue groomer cruiser, everyone can ski pretty well, not a whole lot of difference between us. But as we keep raising the bar in difficulty, I start leaving them in the dust. Add steepness, bumps, or variable or narrow and the gap gets wider and wider as it gets tougher and tougher!
Why? Technique. I took 7 or 8 years of consistent lessons, practiced over and over again on the gnarliest iciest bumps I could find and skied them as fast and smoothly as I could. This is akin to practicing arpeggios, scales and lip slurs! But I got to the point where I have such a wide ranging bag of tricks that had been so ingrained that I no longer have to think.....I just do.
So there ya go! gotta have both!
And I am not convinced turn shape is THE most important thing, important yes, but THE MOST IMPORTANT?
Edited by Atomicman - 3/10/16 at 12:42pm