Tal Wilkenfeld

Slowing everything down. It could be, you know, I can play something really fast, but I may want to like practice it

Because there's all these... micro movements that are happening that if you just go, like you can't pay as close attention to the exact tone that you're pulling from each note. And there's a lot to pay attention to, to how my fingers are touching the string here. Like I can change my tone a million ways just by the direction of this finger. And same with how this lands and how

Because there's all these... micro movements that are happening that if you just go, like you can't pay as close attention to the exact tone that you're pulling from each note. And there's a lot to pay attention to, to how my fingers are touching the string here. Like I can change my tone a million ways just by the direction of this finger. And same with how this lands and how

Because there's all these... micro movements that are happening that if you just go, like you can't pay as close attention to the exact tone that you're pulling from each note. And there's a lot to pay attention to, to how my fingers are touching the string here. Like I can change my tone a million ways just by the direction of this finger. And same with how this lands and how

I'm attacking the string. And with what intention am I hitting the string? Emotionally, physically. And so even if you can go, blah, blah, blah, play that so slow. See how locked into a pocket you can be. See how you feel every aspect of that. Because then when it gets sped up, it's still there with you. Mm-hmm. Yeah.

I'm attacking the string. And with what intention am I hitting the string? Emotionally, physically. And so even if you can go, blah, blah, blah, play that so slow. See how locked into a pocket you can be. See how you feel every aspect of that. Because then when it gets sped up, it's still there with you. Mm-hmm. Yeah.

I'm attacking the string. And with what intention am I hitting the string? Emotionally, physically. And so even if you can go, blah, blah, blah, play that so slow. See how locked into a pocket you can be. See how you feel every aspect of that. Because then when it gets sped up, it's still there with you. Mm-hmm. Yeah.

It's kind of like the transcended and included thing that Ken Wilber talks about.

It's kind of like the transcended and included thing that Ken Wilber talks about.

It's kind of like the transcended and included thing that Ken Wilber talks about.

Yeah.

Yeah.

Yeah.

It is. I've... Yeah, it is. Because I hear there are certain people, it's like they play really fast, but I don't hear the fullness of tone always. And it's like, well, it's probably because maybe they didn't. Maybe it's because they didn't slow it down and really sit with each note and let it like resonate through their whole being. It's spiritual. It's like a spiritual expression.

It is. I've... Yeah, it is. Because I hear there are certain people, it's like they play really fast, but I don't hear the fullness of tone always. And it's like, well, it's probably because maybe they didn't. Maybe it's because they didn't slow it down and really sit with each note and let it like resonate through their whole being. It's spiritual. It's like a spiritual expression.

It is. I've... Yeah, it is. Because I hear there are certain people, it's like they play really fast, but I don't hear the fullness of tone always. And it's like, well, it's probably because maybe they didn't. Maybe it's because they didn't slow it down and really sit with each note and let it like resonate through their whole being. It's spiritual. It's like a spiritual expression.

It's not just like, you know, it's not a sport. A lot of people treat music like a sport.

It's not just like, you know, it's not a sport. A lot of people treat music like a sport.

It's not just like, you know, it's not a sport. A lot of people treat music like a sport.

Yeah.