Klarinet Archive - Posting 000360.txt from 1998/08

From: <Maestro645@-----.com>
Subj: Re: [kl] Fast VS. Slow Practice
Date: Wed, 12 Aug 1998 18:17:51 -0400

In a message dated 8/12/98, GTGallant@-----.COM writes:

> 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?
>

My piano professor has me do that. LIke if there is a run of 16ths (Mozart
Piano Concerto No. 9 for example), you group them and play them fast. Then do
another small section, and then join them together. It really is effective in
getting fingers to do the work and become more agile with certain finger
combinations.
Chris Hoffman

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