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--B_3090214139_201296
>=20
>=20
> What a great answer !
>=20
> I struggled with how to answer this (especially since Bruno is a student =
of
> mine) important question, and I=B9m glad that that I waited (for a change !=
). I
> think Riley put it better than I ever could.
>=20
> I never feel that I have to do =B3cuts=B2 in Honkyoku in order to =B3Play=B2 to t=
he
> audience.
>=20
> If you feel that a certain piece, for whatever reason is inaccessible (to=
o
> weighty, lengthy , or whatever), thank choose another piece. There is
> certainly enough variety within any of the various repertoires..
>=20
> Ronnie
>=20
> Hello again, Bruno.
>=20
> There are at least four reasons why you have problem keeping your momentu=
m
> throughout an entire piece. They may be contributing individually or toge=
ther
> to various degrees.
>=20
> 1. You don't know how to play the piece well enough.
> Have you learnt the piece by heart? Do you know how the piece works, what=
each
> phrase, each note is doing, where it is going? Do you know when to change
> dynamics, tone colour? Are you conscious of how long each inhalation shou=
ld
> be? How about the pause between ending an exhalation and beginning an
> inhalation? How are you ending each phrase? Why?
>=20
> 2. You do not have the strength and stamina to keep the momentum up for t=
he
> whole piece.=20
> Playing shakuhachi is a physical activity. Sometimes we simply tire befor=
e the
> piece is finished. This is related to #1. It is also related to the quant=
ity
> and quality of your practice. Rule of thumb: One's practice is never enou=
gh
> and also never high quality enough. High quality practice implies good en=
ergy
> levels, good concentration, alertness and awareness, in other words, good
> physical, mental and emotional health. It also implies stretching one's
> limits, including those of your sense of hearing.
>=20
> A good way to practice long pieces is to sometimes start your practice
> two-thirds into the piece. If you always start from the beginning and you=
tend
> to tire half way through, you may soon develop the habit of loosing the
> momentum before the end. This problem can be helped by sometimes practici=
ng
> the end sections as if they were the beginning ones.
>=20
> 3. The piece does not resonate with you. We all have our favourite pieces=
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