Comments

>They let an over excited student of any age pick up a work and start hacking away before pointing out a few errors which the student is suppose dot iron out by next week. Where is the joy in such destructive `learning` and oh how these habits are carried into the remainder of that persons playing career.<

As far as my own rhythm problems are concerned, this was self-induced. Several weeks without lessons (business trip to China), had me "experimenting" on my own - moving along through the final few movements to relax from work. As a result, when I had lessons again after I returned hom, I was sent home with a scolding... "now you have to practice these parts 10X over to un-learn these bad habits".

Lesson learned. :)

Greetings,
given a few hundred years I might even unlearn some of mine. Its so difficult to not practice in less than optimal conditions and I can`t count the number of times I`ve paid the price. At least I am in good company.;)
Cheers,
Buri Buri,

I love your follow-ups:-)

< If one counts 16ths and plays quarters that is a much higher level that will solve any rhythmic problem and stimulate the brain to work much harder in playing rhythmically. One need not stop there. The possibility exists…>

Absolutely true! To think know and play all sorts of subdivisions is great training and far more challenging and interesting. It opens the mind to so many musical and rhythmic subtleties and variables.

The conducting and snapping fingers, instead of clapping, is great except years ago my fingers would become raw, so conducting, singing and counting became my norm.

Ah, thinking before playing…………:-)

I have to admit being in company with you and Mendy regarding "left-footed" starts.

Yixi, in your response to Buri's earlier mm blog, you mentioned adding the music at the end — apply it right away during the whole process of developing as this helps secure the technique and the musicianship, artistry!

Thanks, as always Buri.
Drew

I usually listen to at least 3-4 different versions of a piece that I’m working on again and again so that I ended up knowing the piano or orchestra part by heart. But that doesn’t stop me from speeding up and slowing down in some parts, and when it comes to where the violin plays all by itself, the rhythm can get a bit too free if I’m not careful about it.

My teacher does finger snapping, she counts out loud, she never uses a metronome on me (something I should ask her about at my next lesson), and she always reminds me about pulse. Did you two came from a same teacher? :-)

Greetings,
Yixi, its vaguely possible that some of the tempo fluctuation is a result of lsitening intently to a number of interpretations. Just a thought.
I woudl recommend learning the piano part on the violin for you. A true challenge of your intellect. tehn you can really keep a multitak mind going.
I suspect if you did more mental subdivisiobn during your pieces taht woudl also help to stop teh slight fluctuations.
Drew and I did share the same teahcer -very- perhiperally. I tooka small numbe rof lessons off Yfrah Nieman after attenidng one of his summer courses. I think my lack of talent annoyed him....
Cheers,
Buri Buri, it’s possible my tempo fluctuation is caused by mixing interpretations. I’ll watch for that. I tried the piano part of the Mozart VC #3 tonight. It’s bit like playing in an orchestra and watching the solo to struggle, except this solo is my inner voice with a lot of notes conveniently missing. Phew!