Difficult Pieces?

[Thomas Erickson]

I know a lot of people like to listen to recordings or even play along with them, and clearly that can be a useful tool, but I think that it can also be a crutch or a hinderance. I actually like to approach things without any interpretation or context already in my head when possible. I use a metronome and try not to slow it down too much - I think it's easy to get fixated and distracted playing tougher passages at painfully slow tempos and lose the continuity altogether. For me, looking at my parts like this creates a dry understanding going into a rehearsal, so that when they're put into a musical context things are much easier and I can focus the business of paying attention to the ensemble and playing well, and not just proficiently.

[Ken Smith]

Originally Posted by Thomas Erickson

I know a lot of people like to listen to recordings or even play along with them, and clearly that can be a useful tool, but I think that it can also be a crutch or a hinderance. I actually like to approach things without any interpretation or context already in my head when possible. I use a metronome and try not to slow it down too much - I think it's easy to get fixated and distracted playing tougher passages at painfully slow tempos and lose the continuity altogether. For me, looking at my parts like this creates a dry understanding going into a rehearsal, so that when they're put into a musical context things are much easier and I can focus the business of paying attention to the ensemble and playing well, and not just proficiently.

When you walk into the first rehearsal after practicing 'without' having done it with a recording, you might get knocked of the stage when you hear what else is being played around you. Not to mention getting lost as well. Using a recording is the closest thing to having played it before. With section work, the more the merrier. It is not about being an individual here, it is about playing good in a section. Different ball game!

[Thomas Erickson]

It's about playing well in your section, in your orchestra. That's not something that can be learned from a recording. Relying on someone else's recording to teach you how something should be played or what might be expected at your next rehearsal isn't a great idea - the whole point of playing music is that there's always going to be a a different interpretation, a different approach, etc. So when you don't know what you might encounter, why not approach it from an "unbiased" point until you know the specifics of your job?

[Ken Smith]

Originally Posted by Thomas Erickson

It's about playing well in your section, in your orchestra. That's not something that can be learned from a recording. Relying on someone else's recording to teach you how something should be played or what might be expected at your next rehearsal isn't a great idea - the whole point of playing music is that there's always going to be a a different interpretation, a different approach, etc. So when you don't know what you might encounter, why not approach it from an "unbiased" point until you know the specifics of your job?

This is getting funny, unless you're being serious. Then I have to tell you that the more times you play it with ANY Recording, helps you to play it in ANY Orchestra. In the last year, I worked with 5 different Orchestras that I can remember. A 6th I had to turn down a job because I was booked already. I have played some of the same pieces with different Orchestras and having played it before with ANY Orchestra (or recording) is better then just playing it at home with a metronome. Do as you like Tom. I am only sharing my actual experiences here, and not just making opinions.

That's all I have to say about that,.

[Thomas Erickson]

I'm not saying a musician shouldn't listen to recordings. Obviously they're a very useful tool. But that's all they are - a tool. Like any other special tool it's easy to become dependent, when it really should just be an accessory to your basic set of wrenches. Doesn't matter if you're a mechanic or a bassist - it's a quick fix, a gimmick. Not that it doesn't have a place - just doesn't change what it is.

Of course I don't get as many uber pro gigs as Ken, so feel free to laugh at my comments...

[Jeremy Darrow]

On the topic of learning to play a difficult piece. There is a great little documentary called "Obstinato", which accompanies the Edger Meyer and Bela Fleck live CD "Music for Two". The film follows them, on the road mostly, as they practice and rehearse a new piece of Edgar's called "Cannon", hoping to have it ready to record on the tour, and thus make it onto the album.

They struggle with the music, one section in particular, and get testy and a little passive-aggressive with each other. It's incredible to see two of the best musicians on the planet struggling to get something right, and struggling a bit with each other during the process. I highly recommend the CD and the documentary.