Author: d-oboe
Date: 2005-10-16 13:07
Just to add...
I read that article, but he never seems to mention what should be going on in the players head while doing the exercises. I mean, the exercises are great, but he doesn't specifically state what each exercise is designed to fix. A very in depth article, but I think a little too complicated for everyday practice/playing situations.
Admittedly, I would *love* to be able to pick apart my playing like that, but really I think it is unnecessary to a point, and sometimes inhibiting to a player. The brain of the player is too involved, and the playing sounds micro-managed.
The word "pitch", to many people, opens up this complex world of blowing, mouth position, reeds, and maybe even karma. Oh and that's just fine, but playing in such a way will make a player perfect with a tuner, maybe even play perfectly in tune in ensemble....but where is the music?
To get anywhere and to enjoy the music....to play the darn stuff already (that's why we're all here aren't we?) it is important to practice in such a way as to *serve the music.*
Example: in a general practice day the student might normally divide their practicing into three. 1/3 on warmup and scales, 1/3 technical exercises and advanced long-tones, and 1/3 on solos, excerpts, ensemble music, warmdown...etc.
After playing their ensemble music, a student might note that they weren't getting the articulations right, or that the phrasing wasn't how they wanted it to be, or maybe that everything was out of tune.
The next practice session will definitely involve (you guessed it!) more work on playing solid tones - listening, and adjusting.
This way the student learns how to <i>hear</i> everything they play, and then apply it to music <i>which they are playing </i> . Much more useful than practicing an exercise just for the sake of playing an exercise.
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