Printer-friendly version

The Seven Stages of Learning a Concerto (Will apply to sonatas and other works as well)

September 18, 2007 at 8:21 PM

1. First, the violinist is thrilled because *insert concerto here* is one of his/her favorites.

2. Then, as the violinist flips through the pages, he/she groans at the more awkward and difficult passages. The player will also hum/pluck/play-on-the-piano his/her favorite sections. This may include singing and/or dancing.

3. Later, after reading through the score/listening to a recording of the piece, the one will either a) feel a growing excitement in one’s stomach, or b) go into severe shock. Both these options will lead to drooling and nausea (and saint-shouting in the more serious cases of some).

4. Though the violinist knows that slow practice is important, he/she will tell himself/herself that it can't hurt to just play the whole concerto through at concert speed. Most will only make it through some pages, though some will make it through the whole concerto by skipping the most brain-damaging areas. In both cases, the playing will sound undoubtedly scary, but one will figure that it will get better with time (and the falling of sweat).

5.When that time comes when the piece sounds ‘good’, one will not be able to stand hearing his/herself play the concerto. Every little mistake will stand out. It may be a heck of a lot better than the first time the violinist read it, but it will not be good enough. This is the time to go crazy. Symptoms include foot-stomping, yelling/screaming, growling, the sudden metamorphous of claws, and the urge to throw the instrument against a wall.

6. He/she passes stage five. One goes back down to business in ultra-super-slow mode, and voilà—All/most technical difficulties will be gone (by now muscle memory is kicking in) but there are only the musical ones to worry about. This may be combined with symptoms from stage five.

7. One may or may not go back to step three (reading the score), but one will definitely find new shadings (etc) to add to one’s playing. Performances may or may not take place during this step.*

*Depending on how long the above takes, it is possible that by that time, the music is engraved into the violinist’s head and he/she never wants to hear it again. In that case, the idea of a break seems wonderful. One may take one and during this time, the violinist does not touch the concerto. **

**Please refer back to stage one when picking up the concerto again.

***Being politically correct is exhausting.

From Karin Lin
Posted on September 18, 2007 at 10:00 PM
Wow. That is frighteningly accurate.
From Pauline Lerner
Posted on September 18, 2007 at 10:24 PM
Hahaha. That is so true.
From Sydney Menees
Posted on September 18, 2007 at 11:17 PM
Hahahahaha! Story of my concerto-learning life!
From Anne Horvath
Posted on September 18, 2007 at 11:23 PM
#4 is always the most fun! But you can always slow down at the nasty stuff, and claim it is "for musical reasons". (Insert smiley face here).
From Emily Grossman
Posted on September 19, 2007 at 2:44 AM
Evil Linda, you're great!
From Ruth Kuefler
Posted on September 19, 2007 at 6:25 PM
Yep, that's the drama that is learning a concerto, in a nutshell . . .
From Bart Meijer
Posted on September 19, 2007 at 7:24 PM
I was asking myself why I could not muster the discipline to practice slowly. Now I know: I'm at stage four! Thank you.
From Sarah Hao
Posted on September 20, 2007 at 4:04 PM
almost permanently stuck on stage 5. :)
From Eitan Silkoff
Posted on September 20, 2007 at 7:01 PM
try NOT doing this with tchaikovsky concerto lol
From Linda L
Posted on September 20, 2007 at 11:52 PM
It is quite difficult not to. ;)

This entry has been archived and is no longer accepting comments.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Pirastro Strings
Pirastro Strings

Corilon Violins
Corilon Violins

International Violin Competition of Indianapolis
International Violin Competition of Indianapolis

Interlochen Center for the Arts
Interlochen Center for the Arts

Virtual Sejong Music Competition
Virtual Sejong Music Competition

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases Shopping Guide Shopping Guide

Metzler Violin Shop

Bein & Company

Bay Fine Strings Violin Shop

Leatherwood Bespoke Rosin

Annapolis Bows & Violins

Los Angeles Violin Shop

String Masters

Bobelock Cases

Things 4 Strings LLC



Sleepy Puppy Press

Jargar Strings

J.R. Judd Violins, LLC

Southwest Strings

Nazareth Gevorkian Violins

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine