sokun nisa and nop bayarith, This week we're going to investigate some tips on the best way to enhance your specialized nimbleness. One of the fundamental capacities a performer must have is to have summon of the specialized parts of his/her instrument.
Tip #1: Play everything gradually - "Moderate is the same as quick". Possibly you've known about that expression. I'd like to decipher it as understanding that all developments that you make while playing quick sections must have the same loose feeling just as you were playing gradually. What preferred approach to do that over honing gradually? You'll need to rehearse gradually and don't build the beat whenever! Inhale loose, focus yet don't let your muscles pushed or tight in any capacity. Honing gradually allow you to hear the music precisely, listen seriously and in this manner make your cerebrum learn it "back to front".
Tip #2: sokun nisa and nop bayarith, Concentrate on issue regions - Learn to seclude troublesome entries. Listen into them. Make sense of them agreeably, mechanically and musically. After your honed the troublesome section, associate it back to the music a couple measure previously, then after the fact. Along these lines you are "de-secluding" the entry once more into the music.
Tip #3: Remember, it's about making music - Once another understudy came to me for lessons and played a couple of things for me that he'd been rehearsing up to that point. He initiated to play an activity in an extremely specialized, non-passionate design. I ceased him and inquired as to why he has played that way. He replied, "Well, it's only a specialized activity. It has nothing to do with music." So, I said, "alright, so toss it in the junk!" The point here is that we need to comprehend something. We play a musical instrument. We do it to play/perform music with it. Keeping in mind the end goal to get the best exhibitions out of ourselves on a predictable premise, we need to "work on performing".
sokun nisa and nop bayarith, So it is basic that each time we hone, we ought to make music. In the event that something has NOTHING to do with music, we shouldn't hone it. Consider it. When you rehearse your real scales, why do you isn't that right? Conceivable answer are "To better my method", "To pick up authority of my instrument", "to figure out how to hear the real key", "to enhance my inflection", and so on. Such reply as "in light of the fact that it's my homework" or "on the grounds that my educator said as much" are powerless answers and they are NOT going to move us to make great music. We require better replies. In the event that an activity is exhausting you, ask yourself "Why am I honing this?" Look for an answer that is going to inspire you! On the off chance that you don't think of one, LOOK for one! Call a companion, ask your instructor, send ME an email! Accomplish something! Give yourself great reasons and the HOW will deal with itself.
Tip #4: Practice with cadenced varieties - If you're honing even scale material, rather than rehashing an activity again and again the same way (and perhaps exhausting yourself), have a go at playing it with various rhythms.
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