The Secret to Developing Fast Technique
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- Опубліковано 13 лип 2024
- In this UA-cam feature, Alberto Almarza takes us through his practice process of segmentation. He talks about using technical segments we are already comfortable with to achieve greater speed and dexterity for longer technical passages.
Watch Alberto Almarza's full course on Rethinking Technique on tonebase Flute!
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It’s so weird that this is in my recommended because last night I dreamed I was playing the flute in a marching band but I don’t play the flute at all and I totally had to fake it. It was incredibly stressful but now I kinda want to learn to play flute
God speaks to people through dreams sometimes.
9:28 through the end was enlightening for me to hear. No perfect mathematical formula to choose - just go with your feeling and split it in what feels easy. Amazing!
Ha what brought you here? I'm not really a flute player either, but somehow that video showed up in my feed right after I watched the Everything Yes studio session ..
I am trying out professor, Almarza's segmentation strategy on a fast and challenging low register passage. About 20% of the notes involve changes of direction - often between the first and second octaves. Therefore practicing segments at tempo requires constantly making fast-paced embouchure changes in order for the notes to be clear or even sound at all. So far the approach seems to be quite productive.
So interesting! Can you give a reference to the neuroscience research you refer to?
Really interesting. Thank you. My first teacher in high school would tell me to "think slow, play fast." She didn't just say it, but also explained it.
Priceless. ...Well explained.
Thank you for your advice! It is really useful!
So well presented.
Wonderful! Thanks
Sagacious... Thank you!
Very good tip! Thank you❤
Very clear and insightful. We all want to practice more efficiently, yet increasing tempo is the traditional approach. Nice to have an alternative.
Mostly, changing difficult passages into short etudes.
Thank you!❤️
Muchas gracias! saludos desde chile! muy interesante la mirada...
Very nice to see you again here!❤
Wonderful method
Well this makes me feel better about not always slowing stuff down to practice.
When do you decide to use special fingerings instead of the standard ones? There are passages in many pieces which are extremely hard or impossible without using trill fingerings or left hand harmonics. Spending time trying to master everything with standard fingerings then becomes too time consuming. For example, in the Daphnis solo I like to use the trill fingering for the high G# to A at the top of the run. Just adding the 1st trill key (or 2nd, which is better in tune) to the G# fingering is much easier and smoother than the otherwise clunky contrary motion of several fingers.
Could you, please, share the source about a what the neurosciences says about how the brain learn fast and slow passages, etc....thank you so much
This is very useful. Will you do a continuation video where you put the segments together?
I attended a masterclass where he talked on this. He said to put the segments together, he would add a fermata between each and start with a long pause between sections. Then he would shorten the length to a half note, quarter note, eight note, until they were strung together. PS This is how I remember him saying it, and it could possibly be that he said something slightly different, but this is along the lines of what he said.
The way i was taught to connect segments was to add the first note from the next segment. If it still wasn’t connecting smoothly then change up the segments. So instead of playing as written, start on the second note and stop on the second note of the next segment. Not sure if that makes sense but it works!
Ok this makes sense, but I have deconstructed pieces all over now. How were you going to tell us to put them back together?
Tone management is exactly the problem.