 |
||
 |
|
|
 |
 |
 |
 |
 |
 |
 |
 |
||||
 |
|||||||||||
 |
|||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
 |
||
|
|
|
Buy my book at Lulu: |
||
|
|
|
Jason Heath's Double Bass Blog
An Introduction to Double Bass Playing - my book
The Rhythm Ruler - a tool for educators
SIX PRINCIPLES FOR EFFECTIVE PRACTICING
Bruce Berg, Baylor University
1. "The ideal of practice is to accomplish the most in the least possible time without frustration." George Neikrug. Frustration is the enemy of good practicing. A positive mental attitude and the realization that any problem can be conquered is imperative. As was espoused by Dorothy Delay, there is always a solution to a problem. The problem is finding the solution, and I add that a good teacher can always help the student find the solution.
2. Keep the mind engaged at all times. Ivan Galamian states in his book "Principles of Violin Playing and Teaching, "The thing that must be impressed on the student above all else is the necessity for complete and constant mental alertness during practice."
3. Memory and interpretation are partners. Technique is memory. Memorize your musical ideas, not just the notes. "When learning a piece, from the very beginning sing through the musical phrase and then play, trying to imitate your singing. Memorize the phrase immediately." George Neikrug. "The musical approach defines the technical requirements." Gerald Fischbach. "The musical approach is a party to technical considerations, so that if the musical approach remains up in the air, one will waste time 'solving' problems not pertinent to the ultimate musical goals." Charles Castleman.
4. The responsibility of the teacher is important. Ivan Galamian said, "A teacher who limits himself to pointing out the mistakes and does not show the way to overcome them fails in the important mission of teaching the student how to work for himself." "The role of a teacher is to make himself obsolete." George Neikrug.
5. Only practice on one thing at a time. Isolate a problem, then solve it. After learning the solution, don't repeat it over and over. Find another problem to proceed to. "By practicing as a routine, things that do not need any more practice, one is wasting time." Ivan Galamian.
6. "There is a difference between slow technique and fast technique.
When practicing fast passages slowly, use the technique that you will be using when you play it up to tempo." George Neikrug.
More thoughts from Bruce Berg...
1) The metronome. Used wisely, it can be an invaluable aid. The metronome can be a stimulus to working towards specific goals. The goal can be short term, for instance just adding one notch more of speed. I like to have students view the metronome as a challenging coach or goad. If the student is able to click up 2 notches and do a good job, then the coach challenges them to go up 2 more. If that doesn ' t work, the punitive coachsays, " whoops, go back one notch. " Or, if necessary, back 3. When a passage has been "learned" in tempo, I ask the student to gradually slow down the metronome until the passage feels absolutely comfortable and perfect. As the student is slowing the tempo, mistakes, out of tune notes, etc. will become very noticeable and fixable. At the point that actual perfection and comfort is reached, it is quite easy to speed the passage back up to tempo and true improvement should be noticed.
2) Practicing with different rhythms. The advantage of practicing passages with different rhythms is that some notes will be in tempo and others not which gives the mind a bit of room to absorb more information. The different rhythms should not be too tricky and should be limited, otherwise one wastes one time trying to figure out something that need not be worked on. For instance with 3 note rhythm patterns (triplet passages) limit it to variations of 2 16th notes and one 8th note (3 possibilities). For 4 note patterns limit it too 2 16th notes and 2 8th notes. For 6 note groupings limit it to variations of 2 8th notes and 4 16th notes.
3) In practicing fast passages which are slurred, practice them separate bows. This creates the awareness of where unevenness occurs. For passages which are not slurred, practice slurred. This promotes a sense of line and phrasing and is especially helpful in developing interpretation in. for instance, solo Bach. >
4) In practicing fast passages repeat each note 4 times, using separate bows. The 4 notes should be in the tempo of the passage. Then play 3 notes for each note, then 2 notes for each note. Then play the passage in tempo. Start both up and down bow.
5) In upward or downward passages (arpeggios and scales), make 2 groups of 4 notes, playing 5 notes ahead and 3 notes back. This way you are practicing both forwards and backwards and become aware of particular shifting or intonation problems. This can also be done in shorter passages by making 2 groups 3 notes, playing 4 notes forwards and two notes back, or in longer passages of seven notes forwards and five notes back. >
6) The "add a note" method for upward or downward passages. Play the first note of a run with sizzling flair (vibrato and vibrance). Add one more note, in tempo, and make sure that the flair is there on the last note. Add another note and so on until you reach the end of the run. This can also very effectively be done in reverse, starting with the last note of a run and working backwards.
7) Working backwards through any passage. Use the add a note (or 2) method. In doing this you can in most cases find the problem note in almost any passage. 8) Beat displacement: As an example of this practice technique I use the Paganini Perpetual Motion. The notes are: cdcb/cdec/dcba/gabc/ etc/. Play it this way. Then start on the second note (starting up bow), but feel it as the down beat. So you get: dcbc/decd/cbag/abcd/ etc. Then start on the third note (starting down bow) and feel it as the down beat. So you get: cbcd/ecdc/baga/bcbc/ etc. Then start on the fourth note(starting up bow) bcde/cdcb/agab/cded/ etc. It is amazing how this can build solidity into passagework. I liken this method as being similar to going to the art museum and looking at a piece of sculpture. You don't look at the work of art from just one perspective but from several other viewing points. >