💜 2 0 0 H O U R S T R A I N E D 💜
I've finally reached 200 hours of training in the #10000hoursproject
and this was the first year I started taking my training seriously. It feels awesome to see the improvements I've made this year from when I first started soccer 3 years ago and the hard work truly does pay off if you set your mind to it!
Big thank you to my bro @nathan_paull
for mentoring me and I can't wait to see what the next 100 hours hold for my improvement ⚽🙏🏻💯
One if my favourite shots. Moonstone & Diamond Mimosa in 18ct Rose gold by @franbarkerdesign
Sizleri hep beraber öğrenmeye davet ediyoruz...
මේසන් වෘත්තිකයින් වෙනුවෙන් ටෝකියෝ සිමෙන්ති සමුහය විසින් මෙහෙයවනු ලබන සම්මන්ත්රණ මාලාවේ තවත් සැසිවාර කිහිපයක් කුලියාපිටිය, ගම්පොල සහ පැල්මඩුල්ල යන ප්රදේශ වල නොබෝදා පැවැත්විනි. රට වටා නොමිලේ පැවැත්වෙන මෙම සම්මන්ත්රණ මාලාව හරහා ක්ෂේත්රයේ වෘත්තිමය හැකියාව, නවීන තාක්ෂණික දැනුම සහ පුහුණුව ඉහළ තලයකට ගෙනඑමින් ඉදිකිරීම් ක්ෂේත්රය සහ එහි නියැලෙන්නන්ගේ අනාගතය ශක්තිමත් කරවීම අපගේ අරමුණයි. ඉදිකිරීම් ක්ෂේත්රයේ අභිවෘද්ධිය උදෙසා, ඊට අවශ්ය මනා පුහුණුවක් ලද, පළපුරුද්ද සහ වෘත්තීය මට්ටමෙන් සපිරි ඉදිකිරීම් කාර්මික ශිල්පීන් බිහිකිරීමේ හෘදයාංගම කර්තව්යය ඉටුකිරීමට ටෝකියෝ සිමෙන්ති සමූහය ඇපකැපවී සිටියි. #Tokyocementgroup #tokyosuper #workshop #building #seminars #development #skills #LKA
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Stay tuned for more!💫🔜
Contact us for more details.📩📲
LFA coach Tony taking the boys through some drills during our field sessions.
Remember that taking your game to the next level does not just mean getting bigger & stronger.
Rugby league is a field based sport. Everything you do inside and outside of the gym is geared towards you performing better on the field. To do that you need to training your big strong, fast frame to move and react to game like situations.
That’s why we drill down on the basic fundamentals of our game, run hard & with purpose, use your eyes, draw & pass and make better decisions on the field!
In my self-study, I am finding it more and more fundamental to learn violin vertically as my foundation (shifting). String crossing, even with adjacent strings, involves a greater distance between the fingers in each position, per Pythagorean's theorem (yes, algebra). It is a shorter distance between notes on the same string than between notes on different strings. My approach to string crossing focuses on paying attention to how much the distance changes between strings. The intervals of each position also become closer and closer together the higher you go on the violin.
Therefore, it seems disabling to approach the violin by first in mastering each position separately. One must learn first to think vertically and horizontally in scale degrees and intervals, and only then does it make sense to study full positions. Otherwise, you are trying to memorize 9-10 different positions entirely independent of one another. The prospect is enough to make even the most educated music student's head hurt.
Ševčík's opus 8 shifting studies is a perfect method to study the violin vertically. It categorizes shifts by size of shift, and the exercises in each category utilize that size of shift on different fingers. It's these exercises I've been focused on for several months now. Notice how “extended” my fingers are in lower positions versus how contracted they are in higher position. This is the basis of effective left-hand technique.
Shifting is considered one of the hardest “techniques” on the violin, but it also demands the strictest attention of the ear. These exercises span 7 positions on each string. They do an excellent job at training the student how much closer the fingers get the higher the position is on the violin and to gauge the movements with the ear. They also demand optimal setup and posture of the violin on the shoulder!
My favorite thing as a trained musician in other disciplines about not having a teacher on the violin is that I can address my needs myself as they arise. I am constantly learning to listen to my body, to my fingers, and to my instincts. No one is rushing me. No one is making me doubt myself. No one is pushing me to do things at their behest. Each decision I make in my training is a personal accomplishment I can take ownership of and responsibility for.
Double stopping is viewed broadly as a pretty advanced technique. It is treated as a “next-step” to be taken once a violinist has mastered playing a single line in tune across multiple positions and strings. Isn't it fair to say it would be an ideal accomplishment to be able to play single-line passages and pieces well before incorporating double stopping, which would overcomplicate your accuracies?
These views are fatally flawed in not recognizing that playing an instrument is a gestalt. Limiting oneself to overly-isolated studies allows the fingers to find coordinations that may work for the limited scope of material at-hand but may be practicing deficiency as pertains to the overall goals of the instrument.
The known should always be an indicator of other unknown factors. In double stopping, the known is that it imposes much stricter requirements on the player for accurate intonation. Double stopping is merciless in this. If one of the two notes is a hair off, you are immediately assaulted by beats in the sound.
The unknown is what is most dangerous. What deficiencies are being retained in the finger coordinations by not working with double stopping? What minute graduations in finger arch and the frame of the hand are being unrefined by never fingering more than one string at once? What lack of flexibility and muscular static are being strengthened by never going beyond one finger at a time? I don't know. And I refuse to be defeated by the unknown. I look forward to digging into Ševčík Opus 9!!!!!