Practicing can be addictive | By Jeff

Jam JVPracticing can be addictive. A dangerous and self-perpetuating addiction.

I can quite easily remain on an exercise for 8 hours and not notice the time go by. I am not entirely sure if it is normal to stay so focused for so long on an exercise that consists of just 6 notes but I am guilty of it and I am sure other guitarists are just as guilty. What is more dangerous is the way the mind tends to close down to all other aspects of practice and for the mind to completely hone in on the exercise on hand.

The mind is a creature of habit and whatever is repeated often tends to become entrenched as an automatic response even if it just a mindless repetition of an exercise that (in all probability) is already embedded in muscle memory.

Obviously – this is an entirely inefficient way to practice and invites burnout and other rather unpleasant results of over practice like for example Carpel Tunnel Syndrome (which doctors said couldn’t be healed – except I defied their verdict as I couldn’t bear the thought of never playing again). So what’s the ideal way to approach practice? Well, as rudimentary as it sounds – the best way I know to avoid these issues is to have a practice schedule outlining no more than 15 minutes on any given area of study/practice. This is key – ORGANIZATION.

Another crucial area of practice is knowing when to take breaks and how to ease off on the focus. Too much practice is counter productive. You need to find a balance between focus and rest. This has been my greatest battle with music. There is also another related area to all this and that is to ‘forget’.

There is an old adage that goes something to the effect ‘remember to forget because we forget to remember’. This is an age old technique that is based on one principle: subconscious learning. In order for someone to truly learn a movement at a deep level – the learning has to be left to drop further down into the subconscious mind where it becomes a habit and thereby becomes effortless to play.

We do this by learning something completely new and return to the exercise after a period of about one to two months. After we return – then push past previous speed limits of that exercise. You will find that you will easily surpass prior speed limits.


Underground guitarist announces ‘HYER’ – a new collaboration project

Guitarist, Adrian Gedisa

An underground guitarist who until recently remained quite outside of the musical limelight has finally announced   to his friends that he is planning to release an important collaboration between him and others like him.

Morobean, Adrian Gedisa, told friends on Facebook, that the upcoming project would be a fusion of rock metal but with a definite appeal to fans of other genre.

Gedisa’s   style has dwelled on speed of execution. His rapid picking and hammer-ons that come with years of practice have become a trade mark of Adrian Gedisa.

Earlier on, Gedisa drew inspiration from guitar guru, John Warbat, who has remained one of the best rock and metal guitarists in Papua New Guinea.

He was also influenced by underground guitarist, Jeffrey Vagalia, who he refers to as his mentor.

“Jeff lived a few streets from where we lived and I learned a lot from him.”

Vagalia, is one of few serious technical guitarists in Papua New Guinea who remain unrecorded.   Both Vagalia and Gedisa, are like many talented Papua New Guinean musicians   who remain outside the music limelight largely because their artistry and expression is not fully appreciated by many outside the circle.

“Music has gone stale,” Gedisa says. “There is no art.”

Gedisa has also been experimenting with symphonic metal popular in Europe and Scandinavian countries. When asked about his dabbling with symphonic metal, he brushes it aside.

“There’s no market for it. Not many people like that kind of music.”

He has played as a session musician for popular artists like Anslom, Justine Wellington and New Caledonian, Kaneka artist, Edou.

Gedisa, began playing as a teenager. But his interest in the guitar stemmed from his primary school days when he performed in school bands.

Those who bought tickets to the Pacific Games in Port Moresby last year will remember, him as the guitarist who performed as a centerpiece during the opening ceremony of the games at the Sir John Guise Stadium.

“Heaven!” he says, as he remembers the moment. “For me it was big. It wasn’t a local gig, the world was watching.”

There is a lot that people don’t know about the underground music scene. Gedisa says, there’s a lot of activity.   “Hyer,” the project he is working on with other like-minded artists is a labor of love and is expected to be released soon.