I think we're just going to have to agree to disagree on this subject. I don't think we're ever going to see eye-to-eye.
What english do I use?
- Thread starter cstepro348
- Start date
Travis Bickle said:
For kicking there will always be systems, but only simple ones. They only act as a guide and you can fine tune the results by feel.
Some systems are just plain rediculous and not worth the time/effort, but for the most part, a system is never going to "hold you back". You just have to theorize beyond the extent of the systems.
seymore15074 said:
I think if you stay within the range of a given system, understand its limitations and it's not an all-encompassing aspect of your game, why not? I mean, if you're going to refer to a system when kicking 3-rails, I don't think any damage is going to be done. However, I do think aiming-systems and english-systems should be avoided. It creates a comfort-zone and a really-uncomfortable-zone.
Flex said:
I couldn't agree with you more!
I'm in 100% agreement with Jude on this one. I understand where BHE can be useful in introducing a student to the concept of compensating for deflection, but there is simply no substitute for developing the judgement and feel for the shots.
In terms of systems in general, there is no doubt that they are important in terms of learning and conceptualizing what is going on at the table. As one approaches mastery, however, one begins a process of going beyond the systems into a region where you just know what to do and how to do it, and you rely on your instinct. In that land lies true mastery.
A jazz musician practices scales, chords and melodic patterns on a regular basis. When he is in the middle of a solo, however, a master jazz musician is not thinking about Am7, D7 then GM7, he is simply making music that will have a harmonic relationship with the chord structure and the tonal center of the tune. Of course, he knows the ii7, V7, IM7 progression like the back of his hand, but in the process of artistic creation he must go far beyond that. It is just so with pool.
In terms of systems in general, there is no doubt that they are important in terms of learning and conceptualizing what is going on at the table. As one approaches mastery, however, one begins a process of going beyond the systems into a region where you just know what to do and how to do it, and you rely on your instinct. In that land lies true mastery.
A jazz musician practices scales, chords and melodic patterns on a regular basis. When he is in the middle of a solo, however, a master jazz musician is not thinking about Am7, D7 then GM7, he is simply making music that will have a harmonic relationship with the chord structure and the tonal center of the tune. Of course, he knows the ii7, V7, IM7 progression like the back of his hand, but in the process of artistic creation he must go far beyond that. It is just so with pool.
VIProfessor said:
Great post.
VIProfessor said:
Very interesting concepts!
However, BHE doesn't eliminate judgment and feel for shots, it enhances that feel, IMHO.
When I showed BHE to a friend recently and he tried it out, his response was, "This is blasphemy! It's too easy!" Very enlightening, might I say...
What BHE does help with is reducing the number of variables to take into consideration when shooting certain shots.
My cue squirts like crazy, and there are a few very firm shots that need to be made with 2 1/2 tips of high inside english that I can realiably make when using BHE but have a dickens trying to pull off with parallel english. When those situations arise, guess which I'm going to use?
Flex
Hi Rudy. As I read your post, I again will scratch my head because I see you agreeing 100% with me, not with Jude.VIProfessor said:
How does one learn chord theory and chord progression? Do they do it by rote, and simply put in hard work? Or, do they have to learn something about it? Do they fall into it, with an "ignorance is bliss," or do they pick up tricks and licks? Chord progression doesn't really fall under classic music training. Feeling your way through might work for some people, but many other people have actually got training and got tidbits from several different sources.
Is there only one way to learn chord theory? Or are there several approaches? BHE is just one approach that helps to make a baseline. But without a baseline, you can go on fumbling in the dark forever. Just like learning chord theory. BHE can provide a baseline to continue from. What is the baseline others suggest other than feeling your way? At what point did helping to provide a baseline become something evil?
You still have to put in the work to ever get better at this game. That's what I've been saying all along. I'm not treating BHE any other way, and I'm not defining it as something that it's not. And since it's proven to help, and people report that they still use it decades later, why on earth would anyone put it down rather than figure out how it actually helps?
Fred
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