Klarinet Archive - Posting 000340.txt from 1998/08

From: <GTGallant@-----.com>
Subj: [kl] Fast VS. Slow Practice
Date: Tue, 11 Aug 1998 23:07:40 -0400

>From the time we begin playing, we are told to practice slow so the technical
passage is in the fingers. This works in most situations, but not in others.
I once had a conversation with Charles Neidich after a concert, and asked him
how he moved his fingers so fast. I wanted to know what his practice regimen
was that enabled him to play at such rediculous tempos. I offered the "slow
practice" solution and thought that was the key. He said: " If you only
practice passages (fast runs and groupings) slow, you will only be able to
play slow. You must practice them fast - in short bursts - and keep adding
notes to the run".
This made a lot of sense to me and I use this technique frequently. For
example, the solo in Capriccio Espangnol (32nd note sextuplet runs) is very
difficult to execute at quarter note @-----. I
Think it is nearly impossible to play it that fast cleanly without using the
fast practice method. It must be broken down in sections and played at or
near performance tempos. Once short sections are even and smooth, they can be
pieced together and played correctly. Another fine example is the last
movement of Francaix's Theme and Variations. The two sixteenth's followed by
an eigth note at quarter =168 is mega hard, and needs to be practiced rapidly
to ensure a smooth connection from one group to the next. Any ideas?

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