Why are repeated motions so hard??

[Claiken]

Just what the title says, why are repeated things like arppeggiations so hard? Like, logically, if you can play it once, you should be able to play it again.... but its almost like my fingers or brain or something doesnt want to. Why is it so hard??

Im currently working on learning the carmen fantasy, theres a point where it repeats F#, b, and d, and i can do it once no problem, but when it repeats something happens....

[MonikaFL]

Are you talking about m. 84? I think our brains are just fried by that point! LOL

You know, actually I think it's because we get used to practicing our scales and arpeggios (because really this applies to both) a certain way. Like here in northwest Florida, students are hung up on the All-State format. But it's a good thing to practice scales and arpeggios in a lot of different configurations (not always starting on the tonic, changing direction at different points within the arpeggio), articulations, rhythms, etc. That's what I love about the Taffanel-Gaubert book. It really gets your brain and fingers working on the scale/arpeggios from a number of different angles. By the end, you know it backwards, forwards, and any other way that music might throw it at you!

So... that's why I think they're so hard sometimes.

So to help fix it... make sure that you start a few notes before and end a note or two AFTER. That will help "link" them together. Try practicing the arpeggios in that passage in different rhythms. Swing it (long-short). Then reverse swing it (short-long). Then play them in different rhythmic groupings (ignore the rhythms on the page and make up your own, even if it crosses the beam or gets otherwise crazy like that). Play the passage backwards. Change the articulation. Just have fun! By the end, your brain will be GLAD that it's written "normally" and hopefully the passage will seem a lot easier.

Hope this helps!

[Claiken]

I think i will try your tips. before, I was practising it just straight rhythm like its supposed to be. But, it seemed like no matter how much I did that it didnt help.

So far though, Ive only looked at the 1st 2 pages. lol. out of like 11 or something. *ouch*

I hope i can master this by 2 months from now. Thats when my audition is!

does anyone have any tips on mastering such a long piece in short time?

[fluteguy18]

I agree. try learning scales and arpeggios in as many different rythmic and format variations as possible. I myself use Trevor Wye's Omnibus book, and I really like the last section about scales and arpeggios.

as for learning pieces quickly.... listen to recordings.... look for repitition and patterns [for example if the same melody repeats later but modulates to a different key or mode].... make sure you are very methodical about learning as you go so that you wont suddenly realize that you learned a mistake 2 weeks before the audition and have to break the 'habit'. Use a metronome to initially learn it, and then after you have it all metronomically sound.... take it away, and add musicality and expression.

[Claiken]

So far, what Ive been doing for the harder sections is working on each line (or bar, if its really confusing) just that one part for 10 minutes, and the next line, etc. And then I put them together as best I can. i dont think im doing tooo bad considering I just got the piece last week.

I still have stops and finger messups but I can *pretty much* play the 1st 2 pages (but, slower then the tempo its supposed to be in)

[FltnPicc_David]

I have to agree with Monika! We are hung up with that All State format, heh. I'm having trouble with the repeating triplet section of the Chaminade Concertino....i'll try that book!

[Claiken]

Im still working on that one tricky measure. I can play m. 85 ok, but 84 for some reason is just killer. Its very confusing, lol. I can do it slow though. I guess thats something... i couldnt even do that much before.

[avins]

I'll add on to Monika's comment . I once had a great teacher who suggested playin backward along the line in difficults passages or scales. It works wonders, it forces your back conscious to bacome more aware of the notes rather than just play the passage or scale automatically.

[Claiken]

I'll add on to Monika's comment . I once had a great teacher who suggested playin backward along the line in difficults passages or scales. It works wonders, it forces your back conscious to bacome more aware of the notes rather than just play the passage or scale automatically.

really? I thought it would just make you want to play backwards when actually playing the piece. It doesnt do that? hmm. I played it like a regular arpeggio (up then down) but never just backwards. Maybe ill have to try that! Its so weird how our brains can stop our fingers at times...

[fluteguy18]

I mentioned that somewhere at some point.... learning to play the run backwards....it often works! It really helped for my all state auditions last year because there was a run that was absolutely impossible... but I got it right... ..... that is... after I learned to play it after using every method possible to do it. This method was the one that did the trick

[flutistnotflautist]

I'm working on this piece right now, and I know the exact passage you're talking about. It was/is very difficult for me. I just took it very slowly, thinking about the the note names as I went. Very slowly, over and over. Haha, works for most things, just takes a lot of patience. The backwards suggestion sounds good. Makes you think about the notes, same goal.