For passages like Shostakovich chello concerto n2 or porgy, or even the Firebird, y just practice playing VERY slow but possicioning the hands very quick to the next note. I practice muscular memory like that. (Sorry for my english) 😂
IPR1 I do something like that, where if I stumble, I play it through up to right at the point I stumble, then make the move to the next note but DON'T play it. Then I take the time to work out what I do.
oh yes, i would love to do a triangle warm up video, how to work on triangle, and also how to choose triangles - especially since triangle is probably one of my most played instruments in the orchestra. thanks for the idea!
Great video! And really good ideas! I put the metronome at a super-slow tempo, roughly where I know that I don't make any mistakes (and 5 below) and then play the lick in slow motion (not just slow tempo)
rob knopper actually I'm only 4 months in to that system, and for me it worked surprisingly well. Think it's bases on the "never practise a mistake" philosophy, and it also eliminated some previous problems I had with my slow practise.
Just received a difficult mallet piece right after this video came out, perfect timing haha! Rest in Peace Maslanka, you wrote some crazy mallet parts.
Paladin Ultra Oh😂 We have a maslanka piece for our all-state group that has a killer mallet part and we got it about 3 weeks ago, just a coincidence i guess
Amazing video as always. I do the Adam Tan method in combination with this method, where I study the music before playing it, including trying to find recordings to compare interpretations, especially if there is a recording of the Ensemble playing the excerpt!
yeah, those are great ideas. we didn't really dive into how to research and study the excerpts before hand. i do have another video about that called how to learn your orchestra part really well. (link below) and thanks for watching! ruclips.net/video/DQ6chSmkLfA/видео.html
When you practice a 🎼 piece that has a lot of dynamic changes. Is it best to practice at a slow tempo in order to have enough time to execute properly?
i’m usually not somebody who practices almost anything at a slow tempo. but i do isolate small numbers of notes. for example, i’ll work on just one note or two notes at a time and the transitions between them. that solves the problems that slow practice seeks to solve, and works better for me.
I love all these strategies, and I have had success employing them, myself. Here's a couple comments about my approach to teaching students to play difficult passages. Many pedagogues talk about taking advantage of our tendencies toward visual, aural, and tactile learning strategies. Angie's strategy addresses all three of these approaches, and I love that. To truly know a passage intimately, we have to know it by sight, sound, and feel. I like to define chunks as the amount of music I can hold in my head at once. I have found it helpful for students to physically mark chunks on their music with parentheses. This helps create a boundary in which to play more freely, focusing the practice time on the area that needs the most work. As a chunk is being refined, it can be helpful for a students to identify whether they are experiencing visual, aural, or tactile unclarity. They can then utilize the proper tool for addressing that difficulty (i.e. playing block chords, mentally visualizing the notes, analyzing the harmony, singing the passage, examining choreography). Chunks can then be sewn together into phrases to help bolster the memory and improve the communication of ideas. With all this said, I think it is important to remember that mallet instruments are primarily visual. Our hands rarely have time keeping up with the music; it's our minds that tend to lag behind. To guide my choice of practice tempo I have to determine how quickly my mind can see the notes. This is why chunking is so important. It allows me to recognize groups of notes as one idea. If I can see a group of 4 notes as one idea (Tonic arpeggio, pentatonic scale, white note/black note, etc.) my mind can move from idea to idea at a slower tempo than if each note were conceptualized as its own idea. This slows the music down to the speed of my mind, while my hands move at the speed the composer indicates. When the right notes pop out to my eyes as visual patterns, my hands tend to find the right ones to hit.
good question. hmm, i don't have one series that i'm a fan of more than another. i think a timpani mallet collection is an ongoing process. some of the best mallets i've tried are from jeff luft. i also use a bunch of duff style mallets, which are now sold by freer. also, there are a few really good ones that jason ginter makes for dave herbet that i use. so much of timpani mallets depends on your technique, the drums you're using, and the hall you're in, so you should have a general experimental attitude as you try out a lot of mallets and slowly build your collection.
For passages like Shostakovich chello concerto n2 or porgy, or even the Firebird, y just practice playing VERY slow but possicioning the hands very quick to the next note. I practice muscular memory like that. (Sorry for my english) 😂
IPR1 I do something like that, where if I stumble, I play it through up to right at the point I stumble, then make the move to the next note but DON'T play it. Then I take the time to work out what I do.
oh great comment! thank you for the ideas.
Would you be able to do a video on triangle like you did with tambourine back in august?
oh yes, i would love to do a triangle warm up video, how to work on triangle, and also how to choose triangles - especially since triangle is probably one of my most played instruments in the orchestra. thanks for the idea!
Great video! And really good ideas! I put the metronome at a super-slow tempo, roughly where I know that I don't make any mistakes (and 5 below) and then play the lick in slow motion (not just slow tempo)
oh cool! as long as this works for you, i'm glad you have a system!
rob knopper actually I'm only 4 months in to that system, and for me it worked surprisingly well. Think it's bases on the "never practise a mistake" philosophy, and it also eliminated some previous problems I had with my slow practise.
Just received a difficult mallet piece right after this video came out, perfect timing haha! Rest in Peace Maslanka, you wrote some crazy mallet parts.
haha, good luck with that!
Paladin Ultra TMEA?
I did a quick google search, do you mean Texas Music Educators Association? If so, I don't live in Texas haha
Paladin Ultra Oh😂 We have a maslanka piece for our all-state group that has a killer mallet part and we got it about 3 weeks ago, just a coincidence i guess
God, I love Maslanka. One of my teachers knew him pretty well, his marimba solos are amazing
One person disliked cause they had marimba flight of the bubble bee
Amazing video as always. I do the Adam Tan method in combination with this method, where I study the music before playing it, including trying to find recordings to compare interpretations, especially if there is a recording of the Ensemble playing the excerpt!
yeah, those are great ideas. we didn't really dive into how to research and study the excerpts before hand. i do have another video about that called how to learn your orchestra part really well. (link below) and thanks for watching!
ruclips.net/video/DQ6chSmkLfA/видео.html
Rob, I would like to develop a fast lecture on some upper lines chords, like her is doing here.
Wow. Excellent method to learn and develop speedy. 🙂
When you practice a 🎼 piece that has a lot of dynamic changes. Is it best to practice at a slow tempo in order to have enough time to execute properly?
i’m usually not somebody who practices almost anything at a slow tempo. but i do isolate small numbers of notes. for example, i’ll work on just one note or two notes at a time and the transitions between them. that solves the problems that slow practice seeks to solve, and works better for me.
I love all these strategies, and I have had success employing them, myself. Here's a couple comments about my approach to teaching students to play difficult passages. Many pedagogues talk about taking advantage of our tendencies toward visual, aural, and tactile learning strategies. Angie's strategy addresses all three of these approaches, and I love that. To truly know a passage intimately, we have to know it by sight, sound, and feel.
I like to define chunks as the amount of music I can hold in my head at once. I have found it helpful for students to physically mark chunks on their music with parentheses. This helps create a boundary in which to play more freely, focusing the practice time on the area that needs the most work. As a chunk is being refined, it can be helpful for a students to identify whether they are experiencing visual, aural, or tactile unclarity. They can then utilize the proper tool for addressing that difficulty (i.e. playing block chords, mentally visualizing the notes, analyzing the harmony, singing the passage, examining choreography). Chunks can then be sewn together into phrases to help bolster the memory and improve the communication of ideas.
With all this said, I think it is important to remember that mallet instruments are primarily visual. Our hands rarely have time keeping up with the music; it's our minds that tend to lag behind. To guide my choice of practice tempo I have to determine how quickly my mind can see the notes. This is why chunking is so important. It allows me to recognize groups of notes as one idea. If I can see a group of 4 notes as one idea (Tonic arpeggio, pentatonic scale, white note/black note, etc.) my mind can move from idea to idea at a slower tempo than if each note were conceptualized as its own idea. This slows the music down to the speed of my mind, while my hands move at the speed the composer indicates. When the right notes pop out to my eyes as visual patterns, my hands tend to find the right ones to hit.
yesss! thanks for these thoughts and so good to hear from you, joe!!
0:03 nope i just want to learn the crash bandicoot opening lick lol
Hey Rob have you ever think of doing a Q&A video? Would be fun to see you answer some questions besides musical stuffs
yeah, that's a great idea! i should do that. do you mean live or recorded?
rob knopper you can let people ask their questions on twitter and pick some of the questions and answer them in one video
great idea!! thank you!
could you make a lesson on goldberg etude 3 in c majer?
great job and best regards from austria
thank you - that's a great idea! i'll add that to the list.
Congrats on 5k subs!
ooooh 5k i had no idea!!!! thanks for noticing!!
Which one is your favourite timpani mallet/timpani mallet series?
good question. hmm, i don't have one series that i'm a fan of more than another. i think a timpani mallet collection is an ongoing process. some of the best mallets i've tried are from jeff luft. i also use a bunch of duff style mallets, which are now sold by freer. also, there are a few really good ones that jason ginter makes for dave herbet that i use. so much of timpani mallets depends on your technique, the drums you're using, and the hall you're in, so you should have a general experimental attitude as you try out a lot of mallets and slowly build your collection.
Really good stuff!
thank you!!
What piece is she playing?
oiseaux exotiques (exotic birds) by messiaen!
My fist time playing it
I’m getting a xylophone next week
Lol I've never seen a malletech marimba