Sometimes repetition gets a bad rap: "Don't just do mindless repetition!"
But repetition is one of our most effective tools, when practiced correctly. I would go farther: repetition is absolutely essential for beginners building skill and for players of any level learning new repertoire, especially the tricky parts. In fact, the concept is inherent in the world "practice" -- here's one definition: "repeated exercise in or performance of an activity or skill so as to acquire or maintain proficiency in it."
So what's the problem with repetition? My son's piano teacher put it well: "Practice doesn't make perfect -- Perfect practice makes perfect!" No pressure there!
Her point: What you practice is what you write to your brain and what you pattern for your fingers. If you practice sloppily, with bad position, wrong notes and disconnection from the music, you will learn sloppy playing, bad position, wrong notes and robotic playing.
The idea of "perfect practice" is a little confusing, though. Let's say you have a passage that you need to practice: Obviously, you can't play it "perfectly" at the moment -- that is why you are practicing it. So how are you supposed to play it "perfectly"?
Let's just acknowledge that "perfect" is a stressful word; but I'm going to define it for our purposes in the following way: Playing something "perfectly" means playing it with the correct notes, with the correct rhythms, with the correct fingerings and bowings, at the correct speed, with the correct dynamics, and the with the kind of energy with which you wish to ultimately perform it.
Chances are, these can't all come together all at once. But as you work your repetitions, you must keep in mind that your ultimate goal has all these elements, and that every one of them must be included, as your growing ability allows you to include them.
How to go about it? The repetition begins only after you have achieved a goal. Sometimes you are simply trying to string two or three notes together correctly. Once you can do it, repeat it correctly ten times. Then go deeper: perhaps you work on correct rhythm, or bringing it up to speed. Maybe the passage has a crescendo; work out how to play those correct notes with a crescendo, then repeat when you like what you hear.
Let's say your passage is really beginning to sound like something, you can execute the notes correctly, in time, with dynamics. Have you animated the passage? Are you playing it as if you are in front of other people, trying to speak to them with this music? That needs repetition as well. If you add that energy only in performance, it's easy to overdo it and mess up. Or, it's easy to just never add it at all and play like a robot.
Done correctly, repetition is not dangerous; it will not turn you into a robotic drone. The problems occur when one neglects to dig deeper, when repetition does indeed become "mindless," done without attention to detail and care for the ultimate outcome.
So repetition requires concentration. If you begin to stare vacantly and forget you are playing the violin, then it's time to take a break or stop for the day.
But do cultivate that ability to concentrate repeatedly. Ten times correctly gets the job done quite well. For students, I like to stand up dominos with each correct repetition and let them knock them down at the end. I don't count the incorrect ones. For my own practice, I usually just move the dominos back and forth across the desk, so I know when I've done ten. If you are really concentrating on playing, it's sometimes difficult to keep track of the number of repetitions. Writing tallies on a sheet works, too. Or an abacus! But keeping track, I've found, makes me do more repetitions. Left on my own, I'd probably do about three, rather than 10!
So do your repetitions and do them correctly. It works wonders!Tweet
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