My Week Teaching: Practice and Bach Videos

Just a short entry this week as I have to get working on some papers for my history classes at UVic (I’m studying Asian history at the moment) and need to get practicing for an upcoming concert I’m playing in with Alexander Dunn, Adrian Verdejo, and Michael Dias.

Even some of my most accomplished students still seem to be lacking in the knowledge of “how to practice”. As I said yesterday my student Ted brought in a really interesting book, Martha Masters’ Reaching The Next Level A Method for the Experienced Classical Guitarist, which seems to focus on this topic. I may just get all my intermediate student to pick up a copy once I look through it a bit more carefully. Nevertheless, here’s a few basics for beginners:

• Practice slowly but musically: You need to practice slowly to learn the piece, gain the muscle memory, and understand what is required. However, try not to disassociate the practice from the music. You need to incorporate the musical elements into this slow practice. So pay attention to phrasing, articulation, and dynamics.
• Work through phrases, not bars of music: As I’ve said before, music notation is not music. Don’t practice by the bar, instead choose whole phrases or at least micro-phrases. This will ensure a solid muscle memory that is connected to the musicality of the work. Bars are just an element of written music, the listener does not hear the bar line.
• Think like the composer: If you’re playing Bach do some research. Listen to a variety of Bach’s works to gain perspective on his music. Most importantly, listen to non-lute or guitar works. Listen to the cantatas, cello works, harpsichord works, and more. You’ll better understand Bach if you focus on the music rather than the guitar.
• Think like a rock guitarist: Get that riff down! Repeat a phrase and enjoy it. Rock guitarists love the music they play and they want to play it really well to wow people. Wow yourself this time.
• Pretend you are playing ensemble music, even if it’s a solo work: Get in the groove. Alexander Dunn has often described in his masterclasses (I’ve seen about 8 years of them) that the rhythm of a work has already begun before you begin playing; like a train that is traveling beside you, past you. When you begin playing you are simply hopping on-board and joining that rhythm. For the past few years I’ve primarily been playing ensemble music and it’s really helped my solo playing because of this “groove” or “musical train of thought” that exists in all music, at all times. It’s a mystery but definitely something you can tap into.

Bach – Brandenburg Concertos No.3 – i: Allegro Moderato

Bach: Cello Suite No. 2 Prelude

Bach, Toccata and Fugue in D minor, organ