Violin Practice Routine

November 2, 2011 at 02:11 PM · Hello... I've been playing the violin since last year and until now I still don't have a practice routine, can you guys give me some idea? pls...

Replies (9)

November 2, 2011 at 02:57 PM · What does your teacher recommend?

I began playing in elementary school, and I'm finished with my schooling now. I don't make my living in music; but to answer your question -- I carve out about 3 hours a day on a split routine. This is a general idea -- I'm sure you'll get quite a diverse lineup of practice routines from others:

AFTERNOON SESSION -- ABOUT 90 MINUTES

- 20-minute warm-up in 3rd and 1st positions -- vibrato and Sevcik or Schradieck.

- Review of double-, triple-, and quadruple-stops.

- Review of 3-octave scales; ├ętudes.

- Review of shifting -- listening carefully for intervals.

- New repertoire I'm currently working on.

EVENING SESSION -- ABOUT 90 MINUTES

- 10-minute warm-up -- like afternoon session, different exercises.

- Review of old repertoire -- concertos, sonatas, cadenzas.

- Improvisations.

Afternoon is more practicing, less playing; evening is the reverse -- more playing, less practicing.

November 2, 2011 at 03:19 PM · A routine is a great thing to establish. It gives you the opportunity to measure your growth. If you practice random things each day it could get frustrating. On the flip side - it is important to have fun and experiment with your instrument.

If you are taking lessons I would go over what your routine should be with your teacher. Make sure that you put in the "time" but also that you are thinking about what you are doing and not spacing out. After you are done enjoy some free time to play what you want and experiment.

I know this answer is general. If you can give us more specifics we can give you more specific answers!

Smiles! Diane

November 2, 2011 at 03:22 PM · Go to:

http://mypages.iit.edu/~marcus/

and click on "Music Practice Tips"

I've got an article there that may help.

Cheers,

Sandy

November 25, 2011 at 01:25 AM · One thing I learned is to have mindful practice routines.

What I mean is to know the purpose to each exercise and what difficulty you intend to overcome.

Another thing that will speed up your progress is to practice technical works that are out of your comfort zone but playing repertoire that are within your ability.

November 25, 2011 at 08:18 AM · Hi,

I can tell you what I do but if any of the experts tell you differently, listen to them! I've not been playing that long.

I juggle practice, job and commute. This means I practice when I can rather than when I feel like it. The importance of this is that you need to be aware of your own tiredness level. If you're cream crackered, you're not going to get the most out of your practice and if you're really trying to nail something technical the whole experience will be very dispiriting, and it might be better to work on something else that time. So while a routine is great, depending on your circumstances (or 'circumcisions' as my phone suggested I correct it to!) you might need to be flexible.

So. I do the following (after warming up, of course). Scales EVERY day, with metronome and without. I actually made a spreadsheet (spot the accountant...) of the ones I'm working on. I play them in a random order, writing down the number of tries it takes me until I'm satisfied. I then review which ones need extra work. I do these with different rhythms, bowings, 'noodle-style' (C, E, D, F, E, G, F, A etc) as I personally find that concentrating on something else helps make the fingers fall into place on their own. I like to do my scales in the morning before I get my train (but after I've had a lovely cup of tea).

When I get home, it's studies. I don't set a timer as I think with studies when you've had enough you've had enough. I'll play through, listening carefully, and scribble down the parts I feel need more work. Then I break these parts riiiiiiiiight down. For instance, a piece I was doing recently had a lot of string-crossing in it, and I noticed I was going 'b'dum, b'dum, b'dum each time! That had to go. So I literally just worked on bowing (with metronome) for well over an hour. Over and over again. Slowly, then gradually faster. It was really rewarding as I could hear and feel the improvement the next day. So yeah, I don't tend to focus on too much- it might even be just a really difficult couple of bars or a particular shift. My goal is to make it so that when I play it, a listener wouldn't be able to pick out the part I found more difficult than the rest.

I do pieces last, before bed but before I'm too tired. Similar to studies, in that I will single out the tricky parts and really work at them, sloooooowly and building up the speed. However, I always make sure I play them through 'performance-style' as well, focusing on interpretation and making it sound how I want it to sound. Sometimes I treat myself to a piano accompaniment too (all hail the midi-playback of the digital piano!).

Anyway. That's what works for me. Some days I'm so absorbed I play for hours, other days I'm not or I can't due to other commitments. I only ever do serious practice in a positive frame of mind though, as 'practice' and 'resentment' would be a very damaging association.

Hope this helps.

November 25, 2011 at 08:47 AM · hi,

in my opinion, the most important thing is to get used to this practicing bit..then you'll start looking forward to it. because i was so bad at organizing myself as a kid and a young adult, i know that it is primarily a personality trait that must be disciplined. no matter how many plans you lay out, you will find that if you don't have that resolution and will, your practice wont be efficient. i would suggest-and this advice i steal from one of buri's posts- that you incrementally increase your practice time. start with 10 minutes...learn to focus during the whole of that period..then incrementally increase. also maintain a peaceful yet attentive/resolute frame of mind - you are not working, you are not jogging, you were not doing anything and you will not be doing anything...during practice time, its just you, your scales, etudes and music....be concetrate peacefully and enjoy it. i was such a scatter brain and scatter heart as a child...

November 25, 2011 at 01:25 PM · Include some time just to play for fun, and drop from your routine things that don't make a difference, after you've given them a reasonable amount effort and repetition. Some folks love whole collections of etudes, but walking through those isn't always productive. For example, if the music you want to play doesn't include the violin-unfriendly keys of multiple flats & you're not in a high-powered orchestra that might play pieces in those, you can safely skip 'em until you need them. Ditto some of the "flying bowstrokes". Sue

November 25, 2011 at 06:41 PM · Check out Prof Sassmannshaus's idea of Virtuous Moments.

Essentially, you divide your practice into timed 3 minute slots. So for each hour you have 20 slots. You plan a week in advance using the worksheets he provides. I find the 3 minute time reduces the resistance to trying challenging new things, as you can just dip your toe in quite gently. And it keeps you focused as it's over so soon! Seems to work for the kids he is teaching - they are pretty amazing.

December 19, 2011 at 11:55 PM · Thank you guys for your responses it really helped me a lot. For those who are asking what my teacher recommends, we just used "Step one violin" after which I stopped taking classes but i'll soon take classes again using the suzuki method, Schradieck and sevcik violin studies.

I have a question regarding the suzuki method.

1).Is suzuki a good book regarding violin teaching

2). How many months would it take for me to advance to another book

Thank you! in advance...

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

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

ArmSymphony AI Violin Competition
ArmSymphony AI Violin Competition

Find a Summer Music Program
Find a Summer Music Program

Violinist.com Business Directory
Violinist.com Business Directory

AVIVA Young Artist Program

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Metzler Violin Shop

Leatherwood Bespoke Rosin

Warchal

Barenreiter

Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe