Miguel de Maria -> RE: Conversation starter: "Speed exercises" (Jan. 27 2014 13:55:12)
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ORIGINAL: mark indigo quote:
e·tude (ā′to̅o̅d′, -tyo̅o̅d′) n. Music 1. A piece composed for the development of a specific point of technique. the thread is about "speed exercises". Is the arpegio study video you posted a "speed exercise"? I think it's safe to discard the undefined "speed exercises" and just substitute "exercises". The argument is really about transferability and whether skills developed in isolation help in repertoire. When posed that way, the answer becomes rather obvious. Working on scales directly helps scales in pieces. Working on arpeggios or tremolo plugs right into pieces. Stacatto open string patterns tighten up your RH movements. Heck, Grisha gave me a cool secret exercise when he came here to Tempe--and it works (Thanks G-man!). So, exercises work. So, what of CG versus flamenco? Well, some of us play or have played both styles. They are the same instrument, after all. I would guess that flamenco is a more modular style, that the technique is more easily ported from piece to piece, and that exercises are thus even more useful in flamenco than in CG. That might explain why there are so many flamenco ex out there. What of the idea that exercises don't transfer to rep? That you can play the exercise, laboriously moving up the metronome step by step (as if that's the only way to learn anything), and then at the end, it has no bearing on anything? In that case, the exercise was probably not the most effective one for you at that time. On the other hand, I think we have all had the experience of repeating a passage, getting it down, but having it fall apart when it's inserted into its general context. There is a solution here! I heard that Chen, the teacher of those amazing Chinese CGers on Youtube, has them play the piece, play the offending passage three times, and then continue. The hard part gets extra work, but the passage still retains its context. So, hopefully the work will transfer.
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