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CowOnCrack posted:If you play super slowly and 100% accurately only with a metronome, you will never learn how to play faster. I'm a professional symphony violist, I've been playing over 20 years and I have a B.Mus. and M.Mus. from major US Conservatories. This is incorrect, and every single music teacher I've ever had disagrees with you. Playing slowly with the metronome is actually the only way to learn how to play faster. There are two real keys to slow practice - you have to be playing slow enough that you don't make any mistakes, and you must use the same motions and approach/articulation/sound/phrasing/dynamics etc as your final tempo. It is literally like playing in slow motion. It's also insanely hard to do, and something that, like everything, you have to practice a lot to get good at. If you make a mistake, ever, you're playing too fast. Break the piece/exercise down into sections, then slow them down until you can get every note, every articulation, every color. Keep it at that tempo until you can get it exactly the way you want it 5 times in a row. (It can be any number of successful repetitions, but the minimum is 3, and I prefer at least 5. Depends on how ambitious/perfectionist you are. Primrose, arguably the greatest violist of all time, his number was 60+. That's real work). Once you've reached your number of perfect repetitions bump the metronome up a couple of bpm and start over. Don't ever play something faster until you've reached your number of successive repetitions. If you gently caress up, it's back to the first repetition. If you start loving up a lot, the tempo goes down back down. You keep doing this until you reach the tempo you want, and then you keep going above that by about 10% or so (it's useful to be tempo-flexible in both directions as you don't ever want to be performing something at your personal fastest tempo, so you give yourself a bit of breathing room). This isn't something you can just finish in an afternoon, it's a very gradual, methodical process that can take weeks, or even months. It's also the only way to really learn poo poo well, and accumulating the necessary amount of patience and focus takes a long time. I took 12 auditions before I finally starting passing the first rounds, and actually winning one was all about expanding my patience and awareness to really do this kind of work in my preparation on everything, day after day after day, without getting impatient and jumping ahead too quickly and loving up. Your interpretive, musical goals (and poo poo like rubato) can all be mentally realized by listening to recordings, expanding your theoretical knowledge, score study, and singing everything to yourself without your instrument (many of the great performers prefer to memorize something completely before playing a single note of it). Also, if you're playing with other people (and you should, that's the whole point!) then expressive tempi fluctuations and phrasings often happen spontaneously, in the moment, in the musical space between the players. Sometimes the greatest performances aren't actually planned out all that rigidly. Your fingers have to be there first though, and beating that poo poo into your fingers is a totally different and quite rigid specialized activity. tldr; Warchicken is absolutely right. Practicing without a metronome isn't practicing, it's just loving around. e - Oh yeah, and to you and me and everyone else in this thread and every musician ever - stop comparing yourself to other people. There is always someone better than you. Always. I don't care if you started making GBS threads Paganini as a two year old, there's still somebody better than you. Just accept it and move on. You will burn out and stop progressing unless you learn how to work for your own satisfaction and towards your own goals without relentlessly negatively contrasting your work with that of others. emTme3 fucked around with this message at 22:26 on Sep 21, 2013 |
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Sep 21, 2013 20:27
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| # ¿ May 19, 2024 17:44 |
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