 The Clarinet BBoard
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Author: Clarinetgirl06
Date: 2005-05-25 18:39
My teacher commonly complains about my "flying fingers" and how it slows down my technique. I have been trying to hover them closely to the horn but it hasn't shown much success. In my lessons she sometimes will put her hands really close to mine and tell me that I can't touch her hands with any of my fingers. That works somewhat-it's SO HARD though. But at home, I have no one to sit there and put their hands close.
I saw on the BG website (http://www.bgfranckbichon.com clarinet info page 3) a clarinet finger trainer that is supposed to keep the fingers from flying. Has anyone tried this? Does it work? Would it be beneficial for me to try?
OR....
Do I just need to learn to not have flying fingers? Is there a technique? Any advice on this? Anyone have similar problems?
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Author: RAMman
Date: 2005-05-25 19:01
I built my own 'finger trainer' it's called blue-tac and pencils, and definitely helped.
Yes, incredibly frustrating...BUT
Not only does it help your flying fingers, it can also teach you practise discipline and help with your overall hand position.
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Author: William
Date: 2005-05-25 20:52
During a clinic demonstration at our local university a few years ago, Charles Neidich remarked that his fingers "fly all over the place and I have no problems". He then demonstrated a few super fast extended scales sequences to prove his point. I've heard other top professionals argue to the contrary regarding the heighth of fingers and extraneous hand or arm motion, however, most of them do not have the techniqcal capabilities of Mr. Neidich. Success is difficult to argue with.
BTW, Joan Tower told us that when Charles Neidich commissioned a clarinet concerto from her, he made the following comment, "Don't worry about what you write--I can play anything".
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Author: 3dogmom
Date: 2005-05-25 21:08
With my students I hold a piece of paper over their fingers, the long way, about 1/2" up. When their fingers hit the paper, they're too high. I have them ask someone at home to do this for them too. It doesn't take long.
Sue Tansey
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Author: SueSmith
Date: 2005-05-25 22:40
Since every player is anatomically different (some have faster twitch muscles than others)...you have to find what works for you.
I have small hands...and I can't keep my right hand pinky slightly bent or else I'll never reach certain keys. I had one teacher (male) who tried to INSIST that I keep this finger bent...unfortunately for him, to no avail.
The most important thing to remember is to keep relaxed, especially in the shoulder and neck area. Keeping this area relaxed will lead to less tension in your arms...and your fingers. You may find that once you release the tension in your arms, your fingers wont "fly" all over the place. At least as much.
Its also something that you will have to work on slowly...practice your technique (Scales, thirds, etc.) keeping in mind relaxation. It will take some time to incorperate into your playing unconciously.
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Author: mkybrain
Date: 2005-05-25 23:50
I played scales and thirds very slowly, slow enough that i could think about how high my fingers were going and not worry about playing wrong notes. After i guess a month or 2 my fingers were trained to not rise very much when playing. Doing this in front of a mirror, watching ur fingers, helps too.
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Author: Ken Shaw ★2017
Date: 2005-05-26 14:48
Charles Neidich can get away with flying fingers, though when I've seen him play live, his motions are quite economical.
It varies with the situation. I saw a televised Chicago Symphony concert where they played the Borodin First Polovtsian Dance as an encore. At the end, everybody was going at warp 10 speed. Larry Combs and the rest of the clarinet section were showing off (mostly to one another) by flapping their fingers nearly vertical. On NY Philharmonic broadcasts, I see Stanley Drucker flap his fingers on big, showy solos, but keep them just above the holes for everything else.
Kalmen Opperman's fingers hardly move at all. They're a blur, just above the holes. He says you should have "radar" in your fingers, keeping them as close as possible to the holes and keys.
When I let my fingers flap in fast passages, I tend to get excited and lose precision.
The best way to economize on finger motion is to watch in a mirror, which will show you all the sloppiness and remind you to keep things under control. Even if you decide to play with greater motion, it's useful to learn how to play with as little as possible. Think of it as adding a skill, rather than being forced to do something.
There are more suggestions at http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=173095&t=173020. Particularly interesting is Ginny's suggestion to think of moving only your fingernails.
Finally, there are several exercises on finger movement in my posting on the Clarinet Symposium, http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=178641&t=178641
Give low fingers a try and report back in a couple of weeks on how you're doing.
Ken Shaw
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Author: allencole
Date: 2005-05-26 15:13
Just as many jazz players have turned flaws into style, guys like Neidich & Combs can get away with a lot of things because of their ability levels. Heaven knows they've done their time in the woodshed.
For players who aren't quite as dedicated, bad habits of any kind can easily impose a ceiling on their abilities. My left pinkie still tends to get a little spastic at times.
I'm also seeing more players who put their fingers too far over the tone holes--inviting leaks, and bumping into things that they shouldn't. It's the single more frustrating and tenacious problem that I see in students. I'm mystified at how such a small minority of students can be so stubborn about something that so few of their classmates are doing.
To me, the solution to just about everything is to slow down A LOT, and give your body time to reassess how your hands get from place to place. Putting aside a little 'showing off' by televised professionals, I think that a lot of flying fingers come from practicing too fast, and dreading fast looking notes which are being rushed in the first place.
And as Meri said in another thread, good wind and good rhythm tend to set the stage for more productive practice. Most of my students get sold on these by seeing the effect that they have on fingering technique.
Allen Cole
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Author: Clarinetgirl06
Date: 2005-05-27 02:57
Ken said:
"When I let my fingers flap in fast passages, I tend to get excited and lose precision."
AMEN! That's what really gets me in trouble. My solo, Concertino by Weber, went well but when I got nervous and my fingers flapped the accuracy went down. My teacher tells me that I have great technique but I've noticed that nerves mess it up and that I think my finger height contributes to it. I'll really concentrate on hovering my fingers close to the clarinet now until I get it right.
Allencole said:
"I think that a lot of flying fingers come from practicing too fast, and dreading fast looking notes which are being rushed in the first place."
AMEN again! I think sometimes I practice too fast, but lately I've been practicing everything very slow so I can be super accurate. I'm hoping this will help a lot. Yes, when I see though fast rips and runs I really do dread them and my technique turns to goo-it seems like my fingers suddenly take over my brain and try to dominate everything and turn it into utter chaos. It's messed up!
So I don't like playing Baermann III, but I know I should play it and I have it assigned for my lesson every week, so would it be a good idea to do Baermann and hovering fingers at the same time? Kill 2 birds with 1 stone?
What should I play when I am concentrating on keeping my fingers close to the clarinet?
If I work on this really hard and become dedicated to improving this problem, about how long will it take to correct it?
Thanks for the help!
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Author: allencole
Date: 2005-05-27 07:19
Whenever you're going slow through a standard routine such as the Baerman, try to make it a meditation of sorts. If you can just find a tranquil place and play patiently, you will see some changes automatically come about as your fingers have time to learn new, more efficient habits.
When you practice too fast, it's hard to have time to change your ways!
Allen Cole
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Author: jim S.
Date: 2005-05-27 16:40
Bonade seems to have taught that in slower, lyrical passages one got a more beautiful, vocal legato by slowing the finger somewhat just as it approached the hole. Does anyone teach that any more?
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Author: SueSmith
Date: 2005-05-27 16:55
Carrie,
I sympathize with your "not liking Baermann III". In my undergrad I made several failed attempts at working on it...lied to my teacher about working on it (who knew I was full of it)...and the only person I hurt is myself.
If you plan on taking a serious gamble at going pro...you just have to do your technique everyday. I agree with Allen Cole about making it meditative...and I actually like to think of Baermann as the equivalent to a ballet dancers Barre.
Almost every morning, a pro dancer will do a full barre...to warm up the muscles and to reinforce technique. Without the breakdown of the barre exercises, ballet dancers would not be able to dance their repetoire to full effect. I even correlate the individual exercises to certain movements...but I wont go into detail by assuming you are into ballet. But you can take this idea and apply it to certain other sports...skating or gymnastics for example...you must learn the basics for years to reinforce the technique that will create brilliant programs/routines in the future. And as a spectator, those who know how to practice usually outshine those who don't.
Similarly, you can hear the difference between someone who practice their technique and someone who doesn't. Its all in the details...and the things you work on in Baermann will show up in the weirdest places.
Brahms 120. no 1, 4th MVT mm20-22. I had the WORST time getting that passage even. After I began my Baermann studies I came back to the work and suddenly, it was a breeze to play technically. Looking at the passage now, its just a segment of an F# Major arpeggio, but if you haven't practiced exercises in the key of F#Major...how would it become smooth? You could take those 3 measures...play it slowly over and over again...but somewhere down the line, a funky passage in F# Major will come back ... and then you would have to take that passage slowly. So, when you look at it that way, Baermann III is a long term investment that saves you time to learn the music in the MUSIC...instead of turning that music into a technical exercise.
The following is how I began my tenure into Baermann III, so Carrie, I present to you a summer challenge. Start Baermann...deep in the trenches of F# Major/Gb Major and D#minor/Eb minor. Work through every exercise in those keys...just getting the notes under your fingers at first if you are not familiar with these keys. Work everything slowly...(which is more likely to happen in this key than C major). The next day, move onto lighter fair with Db Major and Bb minor....and move backwards, a key a day, until you hit C Major and a minor. At that point...you should feel a great sense of accomplishment...an improvement in your stamina both mental and physical...your technique will be more solid (and I bet you find that evidence by the 5th day) and you will be set to conquer Gb Major and Eb minor the next day and begin using your metronome.
Best of luck
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Author: jim S.
Date: 2005-05-27 17:30
Thanks. I just checked and see that Bonade's Sixteen Phrasing Studies from Rose are in print and available very reasonably from Van Cott.
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Author: Clarinetgirl06
Date: 2005-05-27 21:02
I tried concentrating on close hovering fingers today and I think my scales seemed a little more butter like. Smoother.
Sue-I like your idea of doing Baermann backwards. Right now my teacher gives me a major and a minor that I work on for 2 weeks. I'm doing Eb major/C minor right now. We've started from the beginning of the book and are trekking our way up, but I like your idea. Just start at the back, go slowly, and JUST GET THE NOTES!!!!! Once I finish, start from the back and try for a little bit of speed and again perfect notes, etc.
Do you think that 2 weeks on 2 of them is too long? I get SO SICK of seeing Eb and C minor-it's so dull to play the same ones so I tend to neglect Baermann III. Should I talk to my teacher about changing it up?
I currently play 19 scales everyday 4 times each. (up to 4 sharps and 4 flats major and melodic minor + chromatic). I do each scale twice tongued and twice slurred and I speed up the scales every day. I started my scales WAY SLOWER (quarter note=44) than I can play them, but I did it to make sure I can be accurate for when I have to play them fast. Today was quarter note=62 played in 16th notes, tomorrow will be 64 in 16th notes, etc. I also have all the scale names written on a piece of paper and I draw them out at random.
Is that a good way to do scales? How can I incorporate hovering fingers and get the most out of it?
I am really going to work on this Baermann III a lot. I really do want to be a professional someday and I know it will help improve my technique.
Oh yeah... with the hovering fingers I tried the part I kept messing up in Concertino and I played it perfect and faster than it was before.
THANKS FOR THE HELP!!!!!!!!! : )
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Author: Ken Shaw ★2017
Date: 2005-05-27 21:45
Carrie -
You should spend 7 or 8 minutes at the start of every practice session running scales and scales in thirds completely around the circle of 5ths. The essential exercise is 2 pages in the Klose book, all the scales in thirds, of which Klose says, "I consider this exercise to be one of the most important."
You can't stop at 4 sharps or flats. Music constantly modulates through extreme keys, even if only for a few bars or a few notes. The great virtue of having all possible keys "in your fingers" is that you never come across something unfamiliar.
It's really hard at first, and you have to set your metronome to 60, one note per beat, until you get the extreme keys learned. Nobody can play as smoothly in F# as in F, but the entire Francaix Concerto is in the key of B.
Ken Shaw
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Author: Clarinetgirl06
Date: 2005-05-27 21:57
Ken-
So I should rehearse all of my scales in all keys everyday? See, I just practiced those 19 because of All-State music. So if I practice the other ones, I just practice them seperately very very slow? OK, I'll go and start practicing the other scales to I guess! I'll have to go buy that Klose book I guess! Thanks
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Author: donald
Date: 2005-05-27 23:40
i'm really busy but will try to be BRIEF but helpful.....
ok, height of fingers has an effect, true
i reckon- more important are these two factors
-integrity of finger shape (so finger moves as one unit from one joint, and can easily return to the hole as efficiently as possible)
-hands not moving away/towards the clarinet, either on a vertical or horizontal plane (again, so that fingers can always "find the holes" with as little trouble).
Now, with the clarinet we have more extra movements where it's not just as simple as the fingers going up and down.... this is one reason why it's difficult to play with the agility of a Flute for instance (hey, i didn't say it can't be done though...)..... so obviously we do need to be able to do movements that break away from the two things i've mentioned above....
but overall- these two factors will greatly improve your technique
another thing- make sure that your fingers all have the same amount of downward pressure- don't "push" one finger more than another.
finger trainer= get a string, blue tack one end to your mouthpiece and the other on your bell. This won't restrain your fingers particuarly, but will make you aware when you are raising them too high
keep playing the good tunes
donald
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Author: SueSmith
Date: 2005-05-28 03:23
Carrie,
Are you in HS yet? I was a member of All-State WE in NJ years ago and all the majors and a full chromatic up to G was required. Minors scales were not and I ignored them until my first semester as a freshman in college...BIG MISTAKE!
I can say, 2 weeks spent on only 2 scales/thirds would drive me batty...but of course, not knowing your age, your teacher may feel this is the correct approach. You should talk to her about this...or work a bit learning new scales/thirds and bring them to your next lesson to show her your capabilities. Either way you go, you should talk to her about how you are not feeling inspired by this approach to your technique.
If you are in HS I assume you plan to apply for colleges/conservatories in the near future. At some auditions they will ask you scales...some will not. It depends on the school, but you have to be prepared. But, at your end of semester exams in college...as an undergrad you WILL be asked scales. So the sooner you get to work, the easier it will be.
Also, my comment about Brahms op. 120 no.1 mvt. 4 still stands. That 3 measure passage in F# major tripped me up until I worked out that key in Baermann. And the Mozart Concerto and works of Weber (which are big requests for college auditions) have technique centered around scales, thirds and arpeggios. Modulations within the pieces introduce passages in keys other than C and F major.
You can certainly run your scales and thirds in the circle of 5ths as Ken Shaw suggested. In another thread GBK has a method of going through Baermann which you can certainly follow. If you are just learning your scales, perhaps Ken's method is best for you. Before I began my Baermann regimen I would run daily through my scales starting on E Major/E natural/E harmonic/ E melodic then run the arpeggios...then I would work up chromatically...the next scale would be in the key of F. This began when I started my conservatory training and had to know ALL my major and minors and correlating arpeggios at the drop of a hat for exams. But, scales are like riding a bike...your muscles never fully forget. So, now that I have them under my fingers, I prefer the method I described in my last post regarding a Major/minor key a day in every exercise of Baermann 3.
But, if you don't know your scales past 4#/4b's...Ken's suggestion is probably the best one for you at your stage. But it wont take you the 7 or 8 minutes at first, so be prepared. I'm assuming the Klose has an actual exercise written out that is a few pages long...that once under your fingers will take about that time at a reasonable speed. The Langenus Complete Method book III - which I own, not the Klose, has several pages of exercises - the 9 Routine Studies - that sound similar to the Klose description. Working through either one of these books before you approach Baermann may be the best way for you to go. Baermann goes deeper...into 4ths and 6ths...returning scales and octave studies that, at least the Langenus, does not explicitly explore. And these studies may be too much technique if you are just learning F# major. Perhaps Ken can give more insight into other exercises contained in the Klose book.
So, suggest these ideas to your teacher since she knows what level you are at. But, as long as you approach learning technical exercises slowly, you can't do much damage learning them by yourself.
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Author: Clarinetgirl06
Date: 2005-05-28 04:59
My level is:
Well I'm going to be a senior in HS next year hence the 06. hehe. I've been in All-District Band for 3 years, All-State Band for 1 year, got 1 ratings at District all 3 years and 1's at State for 2 years (freshman and junior year). I played Concertino for my solo this year. I just really got serious about the clarinet this year after All-State Band- I used to get away without practicing and would be fine, but I've now realized that I HAVE to practice and I actually look forward to practicing every day.
For college I'm looking at the University of Missouri Kansas City (Conservatory) which Mr. Moody seems to have been to for his Masters and possibly CMSU which I love the professor there but it isn't as well known to possess a reputation in music. My mom went to UMKC (Euphonium) and she had to prepare something like 120 different scales.
As for Baermann III right now, I'm doing pretty good with the 4ths, 6ths, etc. Some of it is just going a little slow. Although I am in familiar keys right now.
I think my teacher just gives me 2 every 2 weeks because I have an hour lesson every other week and it's easier to keep track of because she likes me to play some of it for her. I can talk to her about it though.
Donald-Thanks for your advice. I noticed today that my right hand position was rather good, but that my left hand position was weird. I noticed that my fingers almost make a very nice 90 degree angle. The bottom joint of the finger goes straight up and the top 2 joints are bent straight horizantally. It seems like the movement is coming from inbetween the bottom 2 joints. I know there's million's of thumb rests to help shape the right hand, but what can I do about correcting the left hand? It seems like the left hand is what likes to fly the most, especially the ring finger-I can't seem to keep that finger down as well. I'll definitely be trying the string and blue tack thing!
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Author: SueSmith
Date: 2005-05-28 05:18
Ok - the audition requirements must differ by state. At your age you are obviously more than capable of working through technique books on your own. I wasn't sure if you were younger, sometimes its best to err on the side of caution.
If your problem is the left hand...a killer is Modern Daily Studies for the Clarinet Book 1 by Kalmen Opperman; studies 1-3 focus on the left hand and studies 4-5 on right hand, and 6 Register Key Study. They are very easy to read, yet difficult to master. A great book to concentrate on hand placement...sorry I forgot to mention it early. The thread got off on a small tangent.
As for your teacher keeping track of your lessons...perhaps keeping a practice journal will help both of you. She can recall what you discussed in your lessons and you will have extra incentive to get it done.
Post Edited (2005-05-28 05:19)
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Author: Clarinetgirl06
Date: 2005-05-28 05:25
Sue- Thanks for the book suggestion. I'll look into it! I think I'm going to start to learn the other major/minor scales tomorrow! I'm excited! Although I already know B major, but whatever! I'm looking forward to pushing my technique and improving it!!!!!!!
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Author: donald
Date: 2005-05-28 07:39
left hand position- try this (from my old teacher Dave Etheridge, not sure where/who he got it from)
hold the clarinet like a flute, in fact, pretend that you are playing the flute- with most people this actually (strange as it sounds) puts your left hand into a good position (does depend on finger length though). Your fingers should be "pointed down" a bit (down= toward the bell) and the hand should be approaching from "behind" the instrument (your left arm should be "j" not "r" when you look at it, if that's not too cryptic of me!)
try holding the clarinet like a flute- does your left hand little finger reach the e/b key? that's the thing that dictates how much you fingers can "point down". Note that the "pointed down" thing also makes it easier for your left index finger to opperate the throat A and G# keys!
donald
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Author: Tony Pay ★2017
Date: 2005-05-29 15:23
The important point, which I'm surprised no-one has mentioned, is that the movement of a finger can be large if that finger doesn't need to be used again 'soon'.
For example, in a one-octave F major scale in the low register, you can move your fingers as far as you like away from the instrument. Even if you need a very fast scale, this is true.
On the other hand, if you're doing a trill, where clearly you need to use the finger again almost immediately, you're forced to use a small movement.
I personally think that the instruction to use small movements as a general rule is counterproductive, because it leads to the use of muscle oppositions in order to ensure it. A better instruction is to use *slow* movements as a general rule. Then, you find out where that doesn't work (in 'trill-like' situations, as opposed to 'scale-like' situations), and can apply muscle oppositions to solve the problem.
The fact that many passages, even fast passages, have large proportions of 'scale-like' movements is something worth noticing.
Tony
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Author: Ken Shaw ★2017
Date: 2005-05-31 15:04
Carrie -
You need to practice the extreme keys every day. You won't see many pieces with a C# key signature, but you will constantly come across short passages that go there.
In the third movement of the Weber Concerto #2, for example, you suddenly repeat the opening passage in C#.
In the Saint-Saens Sonata, in the second section of the first movement, the music modulates all over the place, with a fast Db major ascending scale that's murder if you don't have that key in your vocabulary. In the second movement, there's a flourish that has to be perfectly smooth, even though it's in B major.
I hear a complaining tone of voice -- Aw, gee, do I HAVE ta learn that nasty stuff??
There are two answers.
First, someone else is learning it. If you don't, you're headed for second chair, and the second clarinet section at All-State.
Second, and more important, there's tremendous satisfaction in knowing they can't throw anything at you that you can't play. Like Bre'r Rabbit, you're born and bred in the briar patch. Believe it or not, the B major scale is only a little harder than C major. It seems harder because you haven't done it thousands of times.
When I had to play in the high school pep band, I'd bring my A clarinet, just to get practice in the unfamiliar keys. If you don't have an A clarinet yet, take the oboe or second flute part and practice transposing.
Stanley Drucker's warmup begins in the key of B and gets harder from there. Harold Wright was constantly looking for harder things to practice, ending up with the Opperman Intervalic Permutations book, which were difficult even for him.
Start the new scales really slow, and get them perfectly smooth. You'll feel like a beginner again, and, in a sense, you are. This is something you've never done.
As the Hitchhiker's Guide says, Don't Panic, and carry a towel, to scream into, to bite and to dry your tears. It can be exhausting, which is why you have to give it your very best time -- the first 7 or 8 minutes of a practice session. As Sue says, you won't be able to get through everything in that time, particularly at first, but that's as much as anyone can do with complete concentration.
If you do the work, I can pretty much guarantee you'll feel better about your playing, and yourself.
Ken Shaw
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Author: Clarinetgirl06
Date: 2005-05-31 20:25
Thanks Ken- yeah I have come across the Saint-Saens that you are talking about. A little tricky at first and would be easier if I was familiar with the scales.
"First, someone else is learning it. If you don't, you're headed for second chair, and the second clarinet section at All-State."
Yeah! I really want to do well at State next year and you make a good point. While I don't nessecarily need some scales for All-State, it's something that I'll need to know eventually, also why not get ahead of the game or at least even with it?
"Second, and more important, there's tremendous satisfaction in knowing they can't throw anything at you that you can't play."
Agreed!
I think I'll go in a minute and work my way through the major/minor scales in Baermann III. I'll start with just the scales at first and then I'll concentrate on 1 key and all its exercises per day.
Thanks for the encouragement and for your time!
P.S. I'll post about some of my progress every once and awhile.
Post Edited (2005-05-31 20:27)
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Author: jim S.
Date: 2005-06-01 15:43
Ken: Did Wright study with Opperman? I know that his main teacher was McLane. But McLane died in 1951 and Opperman was a McLane student. Or did Wright just study by himself after McLane?
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Author: Ken Shaw ★2017
Date: 2005-06-01 17:01
jim -
Harold Wright and Kalmen Opperman both studied with Ralph McLane. Kal is several years older, so I'm not sure whether they were with McLane at the same time. They knew each other well, though I don't think they were close friends. (From what I've read, Wright had no close friends, but spent all his time practicing, and Kal has told me that McLane's circle of friends was also small.) Steve Hartman can provide more details.
Wright was such a phenomenal player that he didn't need teaching after he finished with McLane. He went to Houston when he graduated from Curtis, and then to Dallas and the National Symphony (following in the footsteps of Robert Marcellus) and moved to Boston when Gino Cioffi retired. See http://www.bostonrecords.com/clarinet.htm
Ken Shaw
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Author: Clarinetgirl06
Date: 2005-06-01 19:46
Update:
Yesterday I played through all the scales I didn't know and it went pretty well-a few mistakes here and there.
Today, I did as Sue said and I concentrated on 1 key in Baermann III. Today I went through all of B major and it went better than I expected. Tomorrow will be G# minor. I think I prefer this way the most.
Thanks for the help! The finger flying has gotten a little better.
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Author: Ken Shaw ★2017
Date: 2005-06-01 20:45
Carrie -
THIS IS REALLY IMPORTANT.
Start slow enough so that you make zero mistakes. Set your metronome to 40 and play one note per click. Visualize each change before you make it. If you have to play one note every two clicks, DO IT.
You need to get each pattern into your fingers, and repeat it over and over until it happens without thinking. "A few mistakes here and there" undoes all the good work. It only trains your fingers to make mistakes.
You're like a carpenter who has to make her own tools. You're creating skills that you'll use for everything else, for the rest of your life. A carpenter who makes a defective hammer will be in trouble forever.
You may only get through a single line, or half a line. But it's much, much better to get half a line perfect than slop through page after page.
This is HARD work. That's why I said to do it for only 7 or 8 minutes. The moment your concentration wavers, go on to something else.
Ken Shaw
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Author: Clarinetgirl06
Date: 2005-06-01 20:58
OK, I gotcha Ken. I'll go very very slow-I promise! I don't want my work to be for nothing. Thanks!
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Author: Brenda
Date: 2005-06-02 14:11
Monty Roberts' injunction "Fast is Slow" has proven to be very wise. Try to take shortcuts and learn or play too fast, and you'll end up always having trouble with whatever you're working on. Taking it slow and methodically IS the shortcut!
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Author: Clarinetgirl06
Date: 2005-06-03 05:36
Thanks for the advice Brenda. I'll really use that, and I just started some music and played it very slowly and perfectly and I realized that this way will be the best way. Thank you!!!!!!
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