Beats Flow and Rhythms

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Theory of using my jazz theory against the brain’s ability to chunk information and attack based on creating  a false sense of understanding when someone sees a set combination and can since the same combo coming but the musician or fighter is just setting you up for a tempo change where they know exactly where you will be at any moment in the combination. Okay, I will for sure break down this part of what I call jazz and others call flow state or hijacking the opponents flow state.

The first point is getting into that flow moment you have to be there to hijack it think of this, how could you hijack a car if you aren’t near the car? Okay so getting to flow is easiest to get to if you practice getting there what I advice is to do yoga with a singular focus in the moment, it is very Rickson Gracie (go watch Choke for clarification). You can also do what I love doing now know as the Wim Hoft method of deep breathing that gives me the tingle =on my skin and the clean mind before I do anything where I need to flow because the breathing gets me right to the brink of the Flow State. It will not get you into the flow state but the door will be unlocked and all you need to do is step through it. Now stepping through requires you to start doing whatever thing you are trying to flow in, once you start the yoga movements or moving around doing whatever is when you start moving through the door, the big important part is you can’t be thinking while you’re doing whatever. What I mean by not thinking is the japanese theory of “No Mind” all that should be in your mind is the next step be it taking a breath placing a hand somewhere shifting your weight etc. No mind is thinking singularly about the objective the thoughts about your significant other kids or mortgage can’t come in your mind because all your mental energy is now compromised by nonsense things that don’t help the end game goal. That is getting into the flow state it’s the scale before the jazz can be played you have to learn the basic scales of music right?

Secondly now we start playing a repeating melody, the reason you do this is because of what the brain does when it’s focused on an objective or when it’s fighting. Chunking is what the mind loves to do its pattern recognition with intuition, so what the greats do and what I love doing or explaining is set up an elaborate combination, path, or movement. Once the melody is picked you start throwing the combination over and over again. Okay pause, something Conor McGregor does so well is he plays this game with everyone but with multiple combinations he’s brilliant with it. He will start with a long range combo and then tag the target then he swarms with another combo and if the escape after getting tagged after seeing the combo a fourth or third time he goes pack to long range with a slightly different long range combo then he repeats that pattern until he has them ripe for the picking or KOs the target on the spot. Okay back to my breakdown, you get the target thinking about the combination they have seen over and over again something DJ does that I have been practicing religiously like a made man is to actually hit them not allowing them to move and slip off instead I land knees to the body making them panic and then giving the chunking information. I’m playing with the Bas Rutten explained up and down movement where I’m overloading the mind and providing the chunking material so I can place the target where I want them but hurt or thinking about how bad the knees hurt. Watch Master Rafael Cordeiro Death Touch Sparring video and you will see this, 2 or 3 combos and then a knee and then the same combo lands after the knee.

Third is landing the tempo change after playing the melody over and over again. Here’s the catch in this whole jazz thing, Jazz is an art form that is very improvised and spur of the moment, because of this it’s very easy to get lulled into your own melody. You have to present in what you’re doing and practice makes coming out of your melody so much easier because even the great like Sugar Ray Leonard would just keep throwing the same combo even as Marvin Hagler, Hearns, or Duran would be slipping under and around but Sugar would still be throwing the combo after he stopped landing. What should have happened is the tempo change the interjection of a totally different movement, be it a leg kick to leaping uppercut through the middle. Tempo changes in the melody are what gives the music some pop at times be it rest or pause in sound or key change note etc. You can pause before a strike and force hesitation on the target before dropping one on the chin or liver or landing that head kick, or throwing a totally different shot that makes zero sense in the combination to again force hesitation or because it lines up with where the target will be because of how they chunked the original combination.

This is what I’m gonna call Flowing in Jazz because it’s easy for me to explain with jazz as an example. However if your basics aren’t there don’t even try to get this crazy with it.
-Later Folks and Family

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