Thursday, May 20, 2010

Best Practices: Efficient Violin Practice : "Change the Landscape"



When I go to gym class, my gym instructor makes us use different equipment each time. One day it's the Bosu ball, the next it's the stretchy leg band ( they're really not that stretchy!). She says that we'll see a bigger gain by switching things up, that the muscles learn better that way, otherwise they plateau. I think that idea applies to violin practice as well. If we practice the same notes, the same way, using the same part of the bow, same dynamic....(you get the idea)... we can get stuck. Save the small gain of exhaustive repetition, our body and brain stop learning. However, by making contextual changes for a given note passage we can create new experiences for our mind and muscles.

I recently interviewed the incredible violinist and teacher Dan Kobialka at Violin Lab who talked about dimensionality. I loved the word and now have added it to my own lexicon of teaching terms. Dimentional learning is how we broaden our practice experience and thereby see faster gain.

3 comments:

  1. Bach's Minuet #2 is my very favorite piece from Suzuki Book I. I have been working diligently on all the previous pieces in order to acquire the necessary skills to be able to learn and perform the Minuet well once I get there. In all honesty, Minuet 2 has been my ultimate goal from Book I since I first got the book and listened to the songs. I simply love that piece.

    Being so new at this I have never thought about contextual changes while trying to practice or learn new music. In my case, I simply practice different things each day so that I don't get discouraged or lose interest. I will have to start being creative and incorporate some contextual changes in my future practices to spice it up a bit. What a fantastic tip. Thanks!

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  2. Very true! What is also true is that repetition has its place. To me, learning to play an instrument well is like ironing a shirt- you have to get the wrinkles out. If I have trouble playing in tune, or string crossing, or shifting position, then I've got to get those skills ironed out or my playing will always be limited.

    Focusing on mastering a particular piece which includes those difficulties is one way to ensure you get the skills down. Otherwise, you can rely on 1) playing things that are already accessible 2) Doing difficult things, but halfway.

    I try to incorporate these principles in my playing. Jay

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  3. Oh, I forgot to add: contextual changes, as you explain them, ROCK!

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