Flut etunes metronom Activator#
and our eyes capture more than three hundred megapixels of information visually every single second.Īpparently our mind just doesn’t know what to do with all of this so our reticular activator steps in to basically whittle down the information stack to just what is relevant at that very moment.
Flut etunes metronom skin#
Our skin has a million nerve cells that detect pressure, temperature, texture, location, etc. I’d love to be a master multi-tasker, I would just get so many things done. So why do we need to know about this reticular activator? Well, our senses are receiving so much information at all times that we can’t possibly pay attention to everything at the same time. It helps you ‘notice things’ that might have been right there in front of you all along that you may have not really paid attention to before, but there they are now, now that you pay attention to them. This reticular activator acts like a security guard or something that is standing guard making sure you only have what you can handle as far as immediate available information.īasically, the reticular activating system plays a giant role in the sensory information that you can perceive at any time, at any moment of the day. It’s small – like the diameter of a pen or a pencil.Īll of your senses (except smell) are wired directly to this bundle of neurons right here in this area. It’s a piece of the brain that starts close to the top of the spinal column and ends upwards around maybe two inches higher. The reticular activator is a piece of your brain that helps you with ‘attention’. Well okay, a little human psychology or physiology lesson first here. The first thing when recognizing that music is more than just notes is to start listening to others play and placing our reticular activator on certain skills that are being used. Well, this is a really great question and definitely what every musician is striving for.
Flut etunes metronom how to#
So, how can we take these notes and learn how to place them more carefully in order to create a more musical sound? Well, that is how you create sounds of varying pitches, but it’s definitely not the end result to something that sounds tasteful or ‘musical’ is the word. Memorizing a few fingerings and learning how to blow into a flute is not really how you make good music. You want to play a song you enjoy, and you want to sound and feel really good on it. They’re on a journey, and they know where they want to end up… just don’t want it to take their entire lives to get there. I always get really excited when someone asks this because this means that they are really striving for something. So, one of the most common questions I get from people who are learning to play the flute is “when am I going to start sounding really fluid on my songs?” We’re going to discuss 3 tips to begin improving your ear today because without developing our musical ear, we will always sound pretty stiff and mechanical. My site and members community can be found over at Learn Flute where there are hundreds and thousands of flute friends bustling around the members area, learning, and celebrating success on the instrument flute- And you can too. I’m Rebecca Fuller, your host and all-things-flute expert. Are you ready to make a list? Great! Let’s get going. And, as we all know, listening is the most important part of being a musician.I cannot wait for you to use these 3 tips to begin improving your ear today! Having a good time with your flute and with music in general means we need to have some good listening skills, folks. I find that practicing a style of music I am not fluent in, or possibly even familiar with, brings other influences to my playing and forces me to listen in a different way. I also experiment with new musical genres like playing Brazilian choro music on flute. I also do long tones with a tuner, and I always use a metronome. I do this for a number of chord (and scale) types. I do them up and then come back down again. It forces me to invert the chords and to really listen to the relationship between the notes. If it’s a C7, I will start on the low Bb on the sax, low G on clarinet and low C on flute. I do them at a medium tempo, so I can feel the reed consistency and be sure the horns are not leaking.Īs an example, if I am doing Dominant 7th chords, I will begin on the lowest note of the chord. I do scales and arpeggios from the lowest note on the instrument to the highest-into altissimo on sax. On each instrument I have a similar technique of going through the horns.
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