Practice Tips #2: Practice Slowly

Hey everyone, Sulli here and I'm back with episode 2 of the Practice Tips series. Today, I'm bringing back an older topic from the previous series and mixing it up a little bit. As the title says, one of the best things to do is practice slowly. If you want to read the original article(and it's worth a look over, but nothing great): http://sulliadm.blogspot.com/2012/05/how-to-practice-episode-1-start-slow.html

Back to the topic, one of the more common problems in musicians is the desire to keep things fast, especially while practicing. While that is not a bad idea if you know what you're playing, the better option is to play slower than you think. The overall objective of practicing is to know what the music you are learning is, not just recognize it through finger motion. Learning it involves not only being able to play it, but to be able to play it starting from anywhere. In order to get that deep of learning something, one must practice slowly.

Another thing to remember when practicing slowly is everything that goes in behind the music, such as bowings/breath marks, articulations, the style of the piece, etc. Run through the piece multiple times at that tempo and do the following: 1st focus on the note accuracy; make sure you can play every note at that tempo and the pitch is correct. 2nd focus on the articulations and bowing/breath markings and enforce those because they are there to make the piece easier or to sound a certain way that the composer likes. Finally focus on the stylistics if there is a style listed.

The way to tell if you're starting off too slow is if you can follow the checklist above and not have any errors. Usually when I'm deciding where to start the tempo at, I usually start with the tempo as written, then dial it back 20. If that's too fast, then I go back in intervals of 5 or as close to that as you can get. After you have completed the song or section several times and feel comfortable speeding up, then do so slowly. Only make tempo jumps in increments of no more than 5 BPM (beats per minute). This insures you are sure you know what you are playing. This process is a long way, however the payoff is you are creating beautiful music. There will be times this will be cumbersome, annoying, and possibly time consuming but I promise this is the way professional musicians like to practice.

So, as you have hopefully seen this thought can be used as a good mentality to practice with whenever one may need it. If you like what you have read then don’t forget to Subscribe to the blog via email (to the right), YouTube, Facebook, Twitter or SoundCloud. As always, thanks for reading and remember to fear the cellos!

How to Practice Episode 5: Play outside your box

Alfred 00-0483S Suzuki Cello School Cello Part- Volume 3 - Music Book

Hello and welcome back to his segment of How to Practice. This time I have a different (or at least less commonly thought about) technique for helping you practice; Practice outside your comfort zone. This means a few different things; like playing harder music or playing different music than what your use to. I say that you should do all of that and more!

Many people who don't like being outside the box are afraid of messing up and looking stupid when they do. Don't be afraid to make mistakes when you’re playing! Just believe in what you’re playing and if you mess up, then say "Ah well" and shake it off. That is easier said than done, I know but sometimes you have to get out of that block. As long as you’re not on stage giving a concert then it shouldn't matter whether you make a mistake or two. The point is as long as you’re learning something new and pushing your limits then you will be fine! Challenges come and go all the time and the courage is in trying to push your own limits because you are only limited to the extension of your imagination and technical know-how. If that means you are just starting out and know only how to produce a few "noises" or you are like what I did the other day at the SC Cello Choir and was the only 1st chair player in a couple of the rehearsals sight reading material and techniques I had never seen before. The point is you need to not be limited to what your mind knows what to do, but you should do what your mind thinks you can't do because that is the only way to learn anything but especially music.

As I stated before, I was the only cellist in Section I that didn't go to the advanced orchestra rehearsal because I felt like it would be better if I made the pieces I had sound the best I could get them to sound over being in both groups. That is the only exception to my rule: If you don't feel comfortable preforming something in the slightest, then don't add on. That only creates a train wreck. You should push yourself but at the same time know where your limits to your abilities are. You should aim a higher then you did before but not too high. If you’re reading Suzuki Book 4, then aim for the 5th or maybe the 6th, but not anything higher. For those who are learning through the Hal Leonard books, then go one page to about 2 or 3 ahead but no more than that. You don't want to try to push too much.

Now before I leave you I had a question for you. Is there enough regular viewers to start a contest on or what do you guys think I should do? You can email me, tweet me, use my hashtag, or facebook me. If you want to be heard, have a question, want to tell me how I'm doing or just want to make a suggestion on something to talk about or more review ideas. I'm here to talk to you about music! Also, if you want to create fan art I would love to see it! If not I will create a new logo soon enough!

Alfred 00-0481S Suzuki Cello School Cello Part- Volume 2 - Music Book 

How to Practice: Episode 1 - Start Slow

Hello everyone, and welcome to my new series on how to practice. There are many students who are wonderful musicians but don't know what it is like to practice a piece in a way that is easy, and effective, and that is why they don't practice as much as they should. So, in order to fight that urge (and yes, being a high school student heading off to college soon, I know how boring it is to practice at times!) I am starting a series to help people fight that urge and hopefully make you or your student(s) better musicians.

The most common problem I see as a cellist is people don't want to take music under tempo. If the piece is written at a presto, we as students want to preform the piece at that tempo or faster. So my advice to you is to slow it down! You don't need to have the tempo mastered when you are sight reading the for the first time (unless your in a competition and you must). Reducing the tempo will save you not only you stress, but will make you a better musician. By slowing it down when your learning the piece, you get to see the notes that normally might miss, or miss the stylistics that you need for a piece.

Music is about more than just going through a piece and hitting every note and hitting every dynamic. You need to respect the style of the piece (you can't play something Baroque in the same style you would play something like Metallica!), and should respect articulations (you shouldn't play something legato that should be spiccato or vice versa!). Practicing slowly helps improve those qualities of the music and makes more effect on less time.

The best way to tell what tempo you should take a piece is slow it down to the point that it doesn't sound like what you've heard or what the tempo is written as. Run through the piece multiple times at that tempo and do the following: 1st focus on the note accuracy; make sure you can play every note at that tempo and the pitch is correct. 2nd focus on the articulations and bowing/breath markings and enforce those because they are there to make the piece easier or to sound a certain way that the composer likes. Finally focus on the stylistics if there is a style listed.

After you have completed that several times and feel comfortable speeding up, then do so slowly. Only make tempo jumps in increments of no more than 5 BPM (beats per minute). This insures you are sure you know what you are playing. This process is a long way, however the payoff is you are creating beautiful music. There will be times this will be cumbersome, annoying, and possibly time consuming but I promise this is the way professional musicians like to practice.

If you have any questions about the material in any of my other series, anything music or what to see something else, send me a message on Twitter (@sulliadm), over Facebook (sulliadm) Google+ (sulliadm) or send me an email. If you liked what you are reading, or want me to continue with the series share my articles. It would be greatly appreciated!