(Re-edited
version of Chapter 20 of the Keywheel Theory System.)
There is
a cause and effect relationship between practice and ability to play
an instrument. In most cases the way a musician practices is the way
they will play. The adage, "PRACTICE MAKES PERFECT" is not
true. However, "PERFECT PRACTICE MAKES PERFECT " is
true.
Some people
can practice a lot and make little progress. As an instructor I find
that much of my time spent with most beginning and intermediate students
is as a practice coach. The sooner a student becomes a self-coach the
sooner they will become a good musician.
Concepts
need to be physically applied to a musical instrument. Project long-range
, past the immediate gratification of "wangin' out a few riffs"*,
and ncremental improvement can be steadily made through a proper method
of practice.
* "Fun"
practice is also important. Besides the entertainment value, it is also
the chance for exploration and application of the concepts you have
practiced.
Playing
music involves the mind and body acting as one. There are inner (mental)
goals and outer (physical) goals of practice. This chapter will explore
the outer goals. (For the inner goals see MUSIC AS SELF-IMPROVEMENT.)
THEORY-TIMING-TECHNIQUE
The outer
goals of practice are theory, timing, and technique. Theory is
the concept you are practicing and results in the actual musical sound,
or relationship of notes. Timing takes into account the duration
of notes as well as the coordination of your body movements--playing
in even, continuous synchronization. Technique is the proper
way to physically play the concept on your instrument.
REPETITION
IS THE MOTHER OF SKILL
A musical
exercise should be repeated continuously without interruption of the
beat. Practice with a metronome. Start slowly--the only thing you must
be in a hurry to do is to self-correct. (You are also practicing the
mental virtue of patience, overcoming frustrations you never knew you
had!) Attain non-effortless consistency and perfection, then gradually
speed up. (When you learn to love practicing in this manner you will
make great leaps forward.)
The following
is an example of perfect practice using an ascending C major scale played
for one measure. Since I am primarily a stringed-instrument player I
will illustrate this using the down-up stroke technique of a pick.
THEORY (concept)--MAJOR
SCALE (HALF STEPS BETWEEN 3-4, 7-8)
THEORY (specific)--C MAJOR SCALE (key of no sharps/no flats), half steps
are between E-F and B-C
count scale degree |
1 2 |
3 4 |
5 6 |
7 8 |
or/and name notes |
C D |
E F |
G A |
B C |
beat/timing
(two notes per beat) |
1-and |
2-and |
3-and |
4-and |
tap foot on beat |
tap-hold
|
tap-hold
|
tap-hold
|
tap-hold
|
technique (right hand) |
down-up |
down-up |
down-up |
down-up |
The above
exercise integrates all aspects of practice. It involves being aware
of the content (C major scale), it's definition, the timing, and the
coordination (including tapping the foot on the down-beat). And of course
it will also include the sound.
HELPFUL
HINTS:
1.) An exercise
can be broken down into manageable pieces. Each piece can be repeated
until consistently perfect, then pieced back together into the whole.
The above exercise can be broken down into four one-beat pieces (two
notes per beat). C-D, E-F, G-A, and B-C can all be rehearsed separately.
Then link them to form two-beat pieces, C-D-E-F and G-A-B-C. Then link
the two-beat pieces to form the entire four-beat exercise.
2.) First
automatize the left hand position by repeating the notes continuously.
3.) Then
focus on the right hand, picking down on the down-beat and up on the
up-beat.
4.) Tap
the foot only when the two previous steps are mastered. Be sure to hold
the foot down as you are playing the up-stroke. (If co-ordination is
a source of frustration see special lesson RHYTHM .)
5.) Count
the beat as you are playing and tapping.
6.) Count
scale degrees, then name the notes as you are playing and tapping.
7.) Sing
it with the instrument, then without. (This builds hearing differentiation
skills. Singing is proof that you can hear it.)
8.) Build
up speed with a metronome. Be patient--If you can't play it slow correctly
you can't play it fast. (Self-correct at a slower speed.)
9.) When
practicing an exercise isolate and focus on the part that is technically
the most difficult for you to play. Repeat it thoroughly until it becomes
consistent. This way you will constantly leap-frog your abilities until
your technique eventually covers every situation.
10.) Think
long range--the skills involved in the above exercise are accumulative
and will carry over into whatever concept you practice next.
CHART
YOUR OWN COURSE
Write down
your own fingering charts for scales, chords, etc. before you practice
a concept. This will aid in remembering the patterns and will also help
develop visualization skills.
VISUALIZATION
Practice
can also be done mentally by visualizing yourself going through the
motions of playing an exercise, progression or song, and even improvising.
(Many professional athletes use visualization techniques to improve
performances.)
SEQUENCING:
THE BEST FORM OF PRACTICE
A way to
unlock the versatility of a scale position as well as quickly and vastly
improving your technique and ear is to play it in sequences ,
that is, in a continuous series of related musical phrases. Sequencing
synthesizes improvisation by making you think ahead (decision making
skills) and can blossom into an abundance of licks. (Sequences are often
heard in skillful improvisation.)
A
common sequence is ascending fours and can be applied to any
major or minor scale. A four-note ascending phrase is played from each
note ("target" note) in a scale, in succession. (The exercise
is written in scale degree and target notes are in bold type.)
1-2-3-4 |
2-3-4-5 |
3-4-5-6 |
4-5-6-7 |
5-6-7-8 |
.
. . |
The same
sequence can be played in reverse as descending fours .
8-7-6-5 |
7-6-5-4 |
6-5-4-3 |
5-4-3-2 |
4-3-2-1 |
. . . |
EXERCISE:
Sequencing the Major Scale
Sequence
the C major scale (or any scale) using the following three-step method.
STEP ONE:
Practice each separate 4-note piece non-stop until each is equally fluent.
Use the entire range or fingering position on your instrument. Identify
the name of each starting note.
STEP TWO:
Practice neighboring pairs, linking sequences that start upon scale
degrees 1 & 2, 2 & 3, 3 & 4, etc. Practice each pair until
each is equally fluent. The multiple repeat method works good here.
Play each sequence four times each non-stop, then two, then finally
one time each.
STEP THREE:
Sequence the entire scale non-stop. Ascend and descend the full range
or fingering position of your instrument.
This method
may be used with any major or minor mode.
BUILDING
SPEED
Sequences
should first be played as eighth notes, or two notes per beat. Be sure
to use the perfect practice technique of counting while tapping your
foot on each beat. Start at 60 beats per minute and gradually increase
to 120 bpm. Then go back to 60 bpm and play the sequence as sixteenth
notes, or four notes per beat. (Tap your foot at the beginning of each
four-note piece.) Gradually increase to 120 bpm or faster.
Playing
fast (especially in performing situations) sometimes creates a mental
and physical anxiety. This can often be controlled by relaxing and breathing
deeply.
EXERCISE:
Sequencing the Pentatonic Scale
Use the
same three-step method to sequence the C major pentatonic scale (C-D-E-G-A-C)
by ascending and descending fours.
ascending
fours:
scale
degree
|
1-2-3-5
|
2-3-5-6 |
3-5-6-8(1) |
5-6-1-2 |
6-1-2-3 |
. . . |
notes
|
C-D-E-G |
D-E-G-A |
E-G-A-C |
G-A-C-D |
A-C-D-E |
. . . |
descending
fours:
scale
degree
|
8(1)-6-5-3
|
6-5-3-2 |
5-3-2-1 |
3-2-1-6 |
2-1-6-5 |
. . . |
notes
|
C-A-G-E |
A-G-E-D |
G-E-D-C |
E-D-C-A |
D-C-A-G |
. . . |
This exercise
can be applied to any major or minor pentatonic.
MORE
SEQUENCES
Here are
some other common sequences shown using the degrees of a scale. (They
can also be adapted to pentatonics.)
Up three
and return (ascending)
1-2-3-1 |
2-3-4-2 |
3-4-5-3 |
4-5-6-4 |
.
. . |
Up three
and return (descending) Start on the higher octave. (1=8)
1-2-3-1 |
7-1-2-7 |
6-7-1-6 |
5-6-7-5 |
.
. . |
Down three
and return (ascending)
3-2-1-3 |
4-3-2-4 |
5-4-3-5 |
6-5-4-6 |
.
. . |
Down three
and return (descending) Start on the higher octave. (1=8)
1-7-6-1 |
7-6-5-7 |
6-5-4-6 |
5-4-3-5 |
.
. . |
Thirds (ascending)
Thirds (descending)
Start on the higher octave. (1=8)
Thirds-reverse
(ascending)
Thirds-forward
(descending) Start on the higher octave. (1=8)
Triplets
(6/8) (ascending)
1-2-3 |
2-3-4 |
3-4-5 |
4-5-6 |
. . . |
Triplets
(descending) Start on the higher octave. (1=8)
1-7-6 |
7-6-5 |
6-5-4 |
5-4-3 |
. . . |
Triplet
return (ascending)
1-7-1 |
2-1-2 |
3-2-3 |
4-3-4 |
. . . |
Triplet
return (descending) Start on the higher octave. (1=8)
1-2-1 |
7-8-7 |
6-7-6 |
5-6-5 |
. . . |
Once you
get the idea of sequencing you can make up your own using modes, pentatonics,
arpeggios, and even combinations of all three. (A good book of eight-note
musical sequences is Hanon, The Virtuoso Pianist, Part 1 . Twenty
sequences are presented in the key of C but are easily transposed to
any key on any instrument.)
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