Super cool that I found this video, I'm actually working on this piece to add into a recital :) Makes me want to go back to it, and I have pretty much the same issues with it haha... It's food for thoughts ! ^^ Thanks !
Thanks, Josh! Perhaps another term for the principle of deliberate practice that you demonstrated here would be “engaged analysis”. Like you said, the first step is to stop and acknowledge a section that doesn’t sound as you would like it. The next step is to analyze exactly WHY it doesn’t sound as you would like. As you demonstrated you need to keep this ideal constantly in your mind as you try different strategies to get the sound or feeling you want. Each repetition is a test of the strategy: is this working or not? And, again as you demonstrated, you keep tweaking, coming at the problem from different angles until you are satisfied. For me, deliberate practice has made a huge difference, thanks for sharing your process!
Its really interesting to watch a proffesional practice something that - on its own - sounds relatively 'simple'. A great reminder that even the greatest players continue to benefit from deliberate practice🤗. Now I feel personally called-out to go and practice a section of music that I can blunder through, but have been avoiding improving 😅
At the end: for the top E-flat at the end of the RH gliss. Would an accent on this string help in your placement until your body learns the proper distance? It’s sort of thing I would do at the piano where there is only a split second for the eye to help. Your term “deliberate” practice is what I have always done, but never found a phrase for it. Thank you.
Comment at 8:51. Can you not take the top B-flat with your RH so it’s still in place for the same string after the LH gliss, and start the LH gliss on the A#?
Thank you for sharing your process "in process."
I feel like this is an approach that music teaches us all as humans - break stuff down into chunks that you can try and improve on in isolation.
Super cool that I found this video, I'm actually working on this piece to add into a recital :) Makes me want to go back to it, and I have pretty much the same issues with it haha... It's food for thoughts ! ^^ Thanks !
Thanks, Josh! Perhaps another term for the principle of deliberate practice that you demonstrated here would be “engaged analysis”. Like you said, the first step is to stop and acknowledge a section that doesn’t sound as you would like it. The next step is to analyze exactly WHY it doesn’t sound as you would like. As you demonstrated you need to keep this ideal constantly in your mind as you try different strategies to get the sound or feeling you want. Each repetition is a test of the strategy: is this working or not? And, again as you demonstrated, you keep tweaking, coming at the problem from different angles until you are satisfied. For me, deliberate practice has made a huge difference, thanks for sharing your process!
Its really interesting to watch a proffesional practice something that - on its own - sounds relatively 'simple'. A great reminder that even the greatest players continue to benefit from deliberate practice🤗. Now I feel personally called-out to go and practice a section of music that I can blunder through, but have been avoiding improving 😅
Haha, excellent, good luck! :)
At the end: for the top E-flat at the end of the RH gliss. Would an accent on this string help in your placement until your body learns the proper distance? It’s sort of thing I would do at the piano where there is only a split second for the eye to help.
Your term “deliberate” practice is what I have always done, but never found a phrase for it. Thank you.
Comment at 8:51. Can you not take the top B-flat with your RH so it’s still in place for the same string after the LH gliss, and start the LH gliss on the A#?