1, Attitudes A. How oy 1) Cas perceive ¥ stone. *'+ 2) Physical. 3) Intellectual. © es 4) Emotional. 2 B. Are you a worker? 1) Capacity 2) Consistency. Bex =: C. Do you have organizational abilitie 1) Time 2) Task. D. When you practice, is it by: 1) The Clock. 2) The Job. E, Two useful attitudes 1) "ll faut cultiver notre jardin.” - Voltaire. Mig g prio! 2) Problem - solving, as in algebra. =? iene Hate Deere the Pps wie Ip 2st II. Time. these GCI AGT Crt, A Howl re eave 3) Realistic anticipation. 2) Open-ended. B. How short? 1) Eliminate waste ) Be goal oriented ) 4) oedss ests par) 2 3) Love and hate practicing Short-cuts. a) Bad ones compromise the future b) Good ones save time without compromise. C. Routine. 1) Essential to efficient work. 2) Deadly if mindless. Ul. Frustration. 7 cagseruy ‘A. Vastly underestimating how long a task requires. B, Expecting to be able to see constant improvement. C. Working without engagement of mind or ear. : zc decPage IU. Goals. was alse ‘A. Main one: Performance. 7” B, Some big ones: 1) To be expressive2) To be beautiful. 3) To be brilliant. 4) To fulfill what was in ear of composer. 5) To capture the character of the piece C. Smailer ones: 1) Find good fingerings and bowings 2) Take care of basics. a) Intonation. b) Rhythm. ©) Sound. 3) The visible and the i a) Dynamics, #4 b) Phrasing. 4) Even out hard and easy parts. ed. ens ~ Printed om fhe Pag U. Problem-solving. tee A. Stages. we 1) You cannot solve a problem until you have identified it 2) You cannot identify a problem until you have learned to think clearly. 3) You will have nothing to think about until you have developed a sensitive ear. 4) As your ear is hearing more, you will think you are getting worse instead of better. 5) As you think more clearly, you will feel stupid. 6) As you identify more problems, you will think that there are an infinite number of them. B. Two perspectives. fe vParisana ,,gi@h-43 Ge beck fo> 2) Artist f ‘sel, Sek Clause Ve C. Order. 1 atin wf beige ation. ne , Kuaet 1) Have a clear image of what you want to hear in mind, vd 7 z=) Naked reportage from the ear. ™ 3) Apply grid of basic musical issues: a) Intonation. b) Rhythm. ©) Sound. 4) Be fascinated by detail 5) Never underestimate the power of simple awareness. 6) Now search for causes in the technical realm, : 7) Factor in particular abstract concepts from studio, Ray 4 pew teacker has Tei tyes. 29. Stati ht dere - UL. Self-criticism. u eee A. Modes of self-criticism. 1) Never be afraid to know the truth, it!ing te fe fe: u 2) Be only as personal as you need to be.3) Be very specific in self-criticism. Verge 4) Be willing to see patterns of consistent short-comings. 5) Be capable of self-congratulations. B. Examples: aff1-5 1) My sound is ugly. 2) Lam not ugly; but I am lazy. 3) This note was sharp. (Never : [sounds bad.) 4) This note squeaked. Qu. + , a) Because: my bovbs was crooked, and often is Sb) Because: my elbow was stiff. SO Because: I tend to use my shoulder needlessly. 2d) Because: I tend to use larger joints rather than the more efficient smaller ones. 5) That was a little better. It will still get much better. UII. Critical choices. A. Two very different kinds of practice, sis ue 1) Trailblazing: learning a new piece x 2) Maintenance. a) Of technique. (Scales, Arpeggios, Caprices.) b) Of a previously learned piece. B. Choose the perfect tempo for each task. payee jr jude) 1) Slow practice is primarily to give the rhind time to think, and to install new reflexes. 2) Working very patiently through many intermediate tempi makes sure that good new habits stay put, and gives your body a chance to catch up to your mind. 3) Practice at a full tempo carly fe * gpnsider realistic battle conditions. fin ayer 4) Practice at a full tempo locust performance to prove to yourself you can do it. 5) Fast practice does deposit dirt in the mechanism; cleaning up at moderate tempi will probably be required. 6) The perfect practice tempo at any given moment will be slow enough to be able.to hear and to think of & —~ everything, and fast enough to avoid boredom. C. Choose the length of passage to be practiced. 1) Anything from one note to an entire program is possible. 2) Do not make a habit of stopping in reaction to a mistake or a blemish; instantaneous correction does not encourage anticipation of the problem next time. 3) Very short sections are primarily useful for solving difficult technical problems. AC Soman 4) Sections of from 4 to 12 bars should fill up the bulk « Kok your practice time, especially in learning @new piece.5) Playing through complete movements is important in the earliest and latest stages of learning. 6) Choosing a length of passage, then refusing to stop until it is complete, develops the will to perform, focuses concentration, and quickens recuperation from error. IIL. Organization. A. The day: a balanced diet. 1) Physical maintenance. a) Scales b) Arpeggios ©) Double stops d) Etudes and caprices 2) Solo concerto repertoire. 3) Unaccompanied repertoire. 4) Sonatas and other chamber music. B. The piece: setting clear goals and realizing what is on the page. 1) Fingering 2) Bowing 3) Intonation 4) Rhythm 5) Sound 6) Dynamics 7) Phrasing C. Intellectual command of the piece. 1) Make a structural outline. 2) Be aware of key relationships. 3) Be aware of motivic development 4) Be precise in planning tempo relationships. 5) Refer constantly to the full score. 6) Develop mental ability to be aware of everything from the whole to tiny details all at once. D. Cross-referencing 1) Think about harmony 2) Think about counterpoint. 3) Notice harmonic rhythm. 1‘ A 4) Enjoy formal idiosyncrasies. @."° 9 QO" 5) Research information about style and performance practice. 6) Immerse yourself in other works by composer, IX. Efficiency and endurance. A. Routine enhances productivity. 1) Consistency in: a) Amount of practice per day. b) Time of day for practicing. ©) Practice place.2) The sabbath principle. _, B. Physical endurance. 1) Good posture. 2) Natural technique. 3) Know when you have accomplished all you can on one task 4) Take frequent small breaks and occasional longer ones. 5) Recognize fatigue; don’t try to fight through diminishing returns. 6) Respond instantly to pain by stopping whatever causes it. C. Menta! endurance. 1) Discipline yourself to do the most difficult tasks first, and the easier ones when you are becoming tired. 2) Develop powers of concentration. a) Fingers move only when brain is engaged ))Care about the order in which you tackle problems @) Don't fracture your brain; one task at a time. d) Fight against distractions, from within or without. 3) Cultivate a peaceful spirit: work with background anxiety slows everything down dramatically. D. Ultimate purposes. 1) Practicing is never an end in itself. 2) Healthy practicing should range between: wl a) Exhilarating voyages of discovery. b) Arduous and exhausting battles. 3) Practice must be efficient, so that you can get on with much more interesting things, and the real business of living, from which the message of your art is drawn.