“One must practice slowly, then more slowly, and finally slowly.”
Also Sprach Saint-Saens
Also Sprach Saint-Saens
It has been said that fast practice yields slow progress and slow practice yields fast progress. Why might that be? There are several reasons. And there are some exceptions.
In his book, Tone Deaf and all Thumbs? (a must-read), neurologist Frank R. Wilson has written, “If practicing takes place at a pace too fast for accurate execution, the musician will end up with more than one version of the performance, any one of which may present itself in public according to whim.” Wilson also points out that, “During the early stages of learning . . . The evidence now seems very compelling that the musician is at this stage engaged in developing a stored memory of these sequences within the motor system in its entirety.”
An analogy can be drawn to blazing a trail through a meadow of tall grass. The first time through, the grass will be bent. If one is very careful to repeatedly tread on precisely the same path, the grass will eventually cease to grow; There will be an obvious path through the tall grass which requires no conscious thought to pursue. Eventually, the earth will become compacted, and the path will remain obvious after some or much time has elapsed. If there is not sufficient careful, precise, repetition, there may be several paths which lead to a labyrinth of confusion. To beat this analogy absolutely to death, imagine this meadow to be a swamp with quicksand here and there . . . or a mine-field!
It is said a certain world-class brass soloist first approaches a piece by playing every pitch as a whole note, then a half note, then a quarter note, an eighth note, and so on – before applying rhythm. When the body knows precisely where the center of each pitch is, playing faster is easier.
A colleague of mine was working on memorizing (something most trombone players are not generally trained to do) The Bluebells of Scotland for live performance in front of an orchestra. His significant other (a very fine string player) interrupted his practice frustration to suggest, “Why don’t you practice slowly?” He cut the tempo in half. She returned, “No, slowly.” He cut it in half again. . . . “What part of ‘slowly’ don’t you understand?!”
In his book, Tone Deaf and all Thumbs? (a must-read), neurologist Frank R. Wilson has written, “If practicing takes place at a pace too fast for accurate execution, the musician will end up with more than one version of the performance, any one of which may present itself in public according to whim.” Wilson also points out that, “During the early stages of learning . . . The evidence now seems very compelling that the musician is at this stage engaged in developing a stored memory of these sequences within the motor system in its entirety.”
An analogy can be drawn to blazing a trail through a meadow of tall grass. The first time through, the grass will be bent. If one is very careful to repeatedly tread on precisely the same path, the grass will eventually cease to grow; There will be an obvious path through the tall grass which requires no conscious thought to pursue. Eventually, the earth will become compacted, and the path will remain obvious after some or much time has elapsed. If there is not sufficient careful, precise, repetition, there may be several paths which lead to a labyrinth of confusion. To beat this analogy absolutely to death, imagine this meadow to be a swamp with quicksand here and there . . . or a mine-field!
It is said a certain world-class brass soloist first approaches a piece by playing every pitch as a whole note, then a half note, then a quarter note, an eighth note, and so on – before applying rhythm. When the body knows precisely where the center of each pitch is, playing faster is easier.
A colleague of mine was working on memorizing (something most trombone players are not generally trained to do) The Bluebells of Scotland for live performance in front of an orchestra. His significant other (a very fine string player) interrupted his practice frustration to suggest, “Why don’t you practice slowly?” He cut the tempo in half. She returned, “No, slowly.” He cut it in half again. . . . “What part of ‘slowly’ don’t you understand?!”
The Ballad of Bart & Mongo
This leads to a teaching parable (borrowed from Blazing Saddles): The Ballad of Sheriff Bart and Mongo. (While it has its roots in neuroscientist Paul D. MacLean’s Triune Brain Model, my little fable should not be confused with actual Science.)
Sheriff Bart is very smart. He lives in the front of the brain. Mongo is not too smart, but is very strong and very loyal. He lives in the back of the brain. Bart has a lot to think about and can be overwhelmed or distracted. Mongo is slow to learn but never forgets.
There are many habitual, physical tasks Mongo can do – leaving Bart free to think about music. This is a double-edged sword. Whatever Mongo clearly understands, he will do perfectly – time after time. But if Mongo misunderstands, he will do that, instead. He can be confused. Again, he learns slowly, but he never forgets. Habits cannot be "un-learned" – a new habit can be learned but that "grass in the meadow" never completely grows back.
So . . . it is best if Bart is very precise (and very slow) explaining to Mongo – in the first place! Computer scientists have an applicable acronym, G.I.G.O. (K.I.S.S. applies, too).
We all have our Barts and Mongos.
Sheriff Bart is very smart. He lives in the front of the brain. Mongo is not too smart, but is very strong and very loyal. He lives in the back of the brain. Bart has a lot to think about and can be overwhelmed or distracted. Mongo is slow to learn but never forgets.
There are many habitual, physical tasks Mongo can do – leaving Bart free to think about music. This is a double-edged sword. Whatever Mongo clearly understands, he will do perfectly – time after time. But if Mongo misunderstands, he will do that, instead. He can be confused. Again, he learns slowly, but he never forgets. Habits cannot be "un-learned" – a new habit can be learned but that "grass in the meadow" never completely grows back.
So . . . it is best if Bart is very precise (and very slow) explaining to Mongo – in the first place! Computer scientists have an applicable acronym, G.I.G.O. (K.I.S.S. applies, too).
We all have our Barts and Mongos.
Slow Precise Practice
Before playing, determine and mark all breaths (and fingerings/slide-positions as needed). Get this right – changing these will only confuse Mongo – there can be only one path! Obviously breathing will ultimately only apply at tempo, but be crystal-clear about breath planning from the get-go.
First, just pitches, no rhythm. This does not mean no pulse! The whole note, half note, etc. progression may be overkill, but start with notes slow enough that they present no technical difficulty whatsoever – and use a metronome – move the slide right ON the click. Let Mongo hear and find the center of each pitch in the passage – with no other variables!
Second, in rhythm – VERY slowly – with a metronome with the smallest practical subdivision – VERY tenuto! When practicing slowly, in rhythm, it is vital to keep the same space between the notes as when playing fast – otherwise Bart is teaching Mongo spacing that will fail at tempo. The faster you play, the less space between the notes, so practice that spacing slowly – molto tenuto!
Third, increase the tempo gradually, using the Tempo Chart – thank you, Roy Main! The important thing about the Tempo Chart is the repeated return to slow tempo.
Fourth, when you hit a wall, move on to the exceptions to the rule below.
Look HERE. And for a deep dive, look HERE (slow loading page).
First, just pitches, no rhythm. This does not mean no pulse! The whole note, half note, etc. progression may be overkill, but start with notes slow enough that they present no technical difficulty whatsoever – and use a metronome – move the slide right ON the click. Let Mongo hear and find the center of each pitch in the passage – with no other variables!
Second, in rhythm – VERY slowly – with a metronome with the smallest practical subdivision – VERY tenuto! When practicing slowly, in rhythm, it is vital to keep the same space between the notes as when playing fast – otherwise Bart is teaching Mongo spacing that will fail at tempo. The faster you play, the less space between the notes, so practice that spacing slowly – molto tenuto!
Third, increase the tempo gradually, using the Tempo Chart – thank you, Roy Main! The important thing about the Tempo Chart is the repeated return to slow tempo.
Fourth, when you hit a wall, move on to the exceptions to the rule below.
Look HERE. And for a deep dive, look HERE (slow loading page).
Exceptions to the Rule
The exceptions are practicing at full performance tempo, using “chunking” and “chaining.” Chunking and chaining are covered in Practice Tools For Speed. Why is discussed (in great depth) with Dr. Jason Sulliman HERE.
My feeling is both slow practice and practice at full speed have value. In discussion with Dr. Sulliman, he did not disagree. Do both, but do slow practice first.
Also, after some facility is acquired, occasionally playing the passage faster than you can – with the metronome – forcing yourself to keep up – has some value.
My feeling is both slow practice and practice at full speed have value. In discussion with Dr. Sulliman, he did not disagree. Do both, but do slow practice first.
Also, after some facility is acquired, occasionally playing the passage faster than you can – with the metronome – forcing yourself to keep up – has some value.