Klarinet Archive - Posting 000369.txt from 1998/08

From: Michael Kolos <clarinet@-----.net>
Subj: Re: [kl] Velocity (was: Fast VS. Slow Practice)
Date: Thu, 13 Aug 1998 00:44:41 -0400

When I had master class with Charles Neidich, he also mentionned for his fast
practising techniques that he would choose certain "anchor" notes. so the bursts
would go to certain notes that he'd choose in advance, so a long run of fast notes
was like a few shorter runs of fast notes.
He also dismissed the "close fingers" idea. He explained that playing fast notes,
your finger speed isn't the limiting factor but the sequence. He demonstrated this
by playing fast runs and having us concentrate on one finger in particular.
Obviously it only moved once or twice every succession of notes.
There are some possible exceptions, but this is generally true.

Michael Kolos

CmdrHerel@-----.com wrote:

> In a message dated 98-08-11 23:20:56 EDT, 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?
> >>
>
> I've recently started to include practice of this sort into my regime. For
> about ten years I've been working slowly, doing all the good things you're
> supposed to do, setting hand position and such. Now, I can with a great big
> grin say that a lot of those things are "set" and I *can* practice for
> velocity.
>
> I've been working on this for past year with my teacher, and we do much as you
> describe: Short groups at the higher tempo. For etudes this is like two
> measures or so. For literature, it depends on the run, or grouping. This
> brings things to a tempo in a way that practicing the whole passage slowly
> never was able to do for me. It's an exciting place to be!
>
> And along those lines... Look this fall for Kalmen Opperman's Velocity
> Studies. They should be out soon with Carl Fischer. There's three books of
> beginning, intermediate, and advanced studies that are for this very
> technique.
>
> Teri Herel
>
> -------------------------------------------------------------------------

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Michael Kolos
Montreal, Canada
clarinet@-----.net
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