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Thread: Practicing multiple difficult pieces

  1. #1

    Practicing multiple difficult pieces

    I am working on four items (two movements each from two different pieces) for IET this summer, and I'm trying to get a handle on what would be the best way to work on them so that they all get to about the same level. I see three different ways:

    1. Concentrate on one piece each day to the exclusion of all others.
    2. Work on each piece equally every day.
    3. Concentrate on one piece each day, but play thru the others to remind myself of what they're supposed to sound like.

    Which would be the best way to attack this problem, or is there another way that I haven't thunk of?
    David Bjornstad

    1923 Conn New Wonder 86I, Bach 6 1/2 AL
    2018 Wessex EP100 Dolce, Denis Wick 4ABL
    2013 Jinbao JBEP-1111L, Denis Wick 4AM
    2015 Jinbao JBBR-1240, Denis Wick clone mouthpiece of unknown designation
    Cullman (AL) Community Band (Euph Section Leader)
    Brass Band of Huntsville (2nd Bari)

  2. #2
    I personally vary from 2 to 3 depending on my mood and where I think work needs to be applied. When I did my Iowa recital a couple years ago I had the Proto Capriccio on the program. It's a chop buster and just plain hard. So for that practice series, the Proto was on about 90% of my sessions. So was Hailstorm, mostly to keep my triple tongue up to speed. The other pieces came and went on any given day depending on my mood and how much time I had.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  3. #3
    I use a practice list to capture the areas of difficulty in the music I'm working on and work against that. It lets me do focused, intent-driven practice sessions to make sure I'm addressing the areas of the pieces that really matter. Once the difficulties for a piece are in good shape, then I'll start working the thing over as a whole.

    I definitely like variety though, so I'll make sure I'm doing things related to two or three pieces in every session so I don't feel stuck.
    Adrian L. Quince
    Composer, Conductor, Euphoniumist
    www.adrianquince.com

    Kanstul 976 - SM4U

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