Practice time question

[Wrighty]

Hi all

I wanted to seek some views on the best way to allocate practice time - primarily between old / existing repertoire and new pieces.

In my case, I have two pieces that I have worked up and know - Lagrima and Adelita, and am working on two others - For Etude Bm and Capricho Arabe.

My inclination is to spend all my time on the two new pieces, as these clearly need the most work. The downside of this is that I lose the older pieces from memory and would need to spend some time to get them back should I want to.

If I spend some of my time on preserving these older pieces, then I lose valuable time on new pieces, and so it goes..

What do you do, and what are your thoughts on this?

How important is it to keep my hand in on older pieces - obviously this becomes much more challenging as the repertoire increases over time.

[SprintBob]

My strategy for arrangements I have learned but that I want to “keep at hand” while I am learning new songs is to commit to playing them at least once a week but with the caveat that I play them slowly and try to play them as accurately as possible. The goal is to try to maintain some of the “hard wiring” I built up learning the song. I also use playing something I learned well and want to keep at hand as an excuse for a short break when I am working pretty hard on a new song and need to put it away for 15-20 minutes or so during a playing session.

But I’m also amazed that arrangements I have not played in 4-6 months (and sometimes longer) that when I pick them up again, how quickly they come back. I recently pulled Masaki Kishibe's Shooting Star (which you have played) and I had not looked at it in 6-7 months and within 2-3 hours, I had it going again. Knowing that, I don’t stress out as much over losing a song I worked hard to learn and got to a performance worthy status.

Hope this helps.

[Gitfiddlemann]

Hi Peter,
Good questions. I don't think there is any right answer that applies to everyone, but here are some thoughts to consider.
I like to schedule "practice" and "playing" time. Ideally at separate times of the day, but that's not a necessity.
Practice time is the session to work on new material, drills, scales, arpeggios (whatever it is that is helping you at that time). The best time to do that I find is in the morning with a good cup of coffee (or tea), when your mind is freshest and can absorb best. At least it does with me.
Playing time is the perfect opportunity to go through those pieces you've memorized and have moved on from. Think of it as using the principle of natural harmonic frequency, like pushing a kid on a swing. It doesn't take much effort once you get the swing going. Similarly, it wouldn't take you much time to go through Adelita and Lagrima now because you've gotten them down so well. It's practice time too in a way. You can polish them as you go. It's also a good time to grab the steel string and play through something in your repertoire. Not working, just playing.
You might find over time that some pieces will stick with you, others won't. And you don't have to play the same ones every day. After a while, once a week or so is plenty.
If you don't, you will start to forget them. And that's a pity. The problem with just moving on to another project is, you'll end up in your workshop all day, with not much to entertain yourself with. Every playing session becomes a set of chores. Not much in the way of positive feedback.
In summary, I would say it's fine to dig in to some new pieces, but keep some time during the day for just playing.
Lastly, avoid being too hard on yourself if you do forget the one or the other piece. You'll find that if you start working on them again, they come back very quickly, and sometimes even better.
So, that would be my recommendation: Practice, and play. Do both.

[RodB]

I suggest a mixture of both as well.

Push forward with new interesting and challenging pieces, but not only maintain the others under your fingers but try out different phrasing and dynamics, always striving to develop the music as well as technique.

In some ways it is then still about practice, not just repetition.

BTW I am impressed with your commitment and ‘journey’ Peter.

[rick-slo]

Your call. How much time do you have to be playing guitar? That may be the biggest factor in how much repertoire you can maintain.

Longer, more complicated pieces of course take more time to maintain at a good playing level.

Regarding Capricho Arabe it's a very nice piece. I just came across this recording. Not familiar with the artist but IMO he plays beautifully.

https://www.youtube.com/watch?v=y_goHl-GuNk

[Wrighty]

Originally Posted by SprintBob

My strategy for arrangements I have learned but that I want to “keep at hand” while I am learning new songs is to commit to playing them at least once a week but with the caveat that I play them slowly and try to play them as accurately as possible. The goal is to try to maintain some of the “hard wiring” I built up learning the song. I also use playing something I learned well and want to keep at hand as an excuse for a short break when I am working pretty hard on a new song and need to put it away for 15-20 minutes or so during a playing session.

But I’m also amazed that arrangements I have not played in 4-6 months (and sometimes longer) that when I pick them up again, how quickly they come back. I recently pulled Masaki Kishibe's Shooting Star (which you have played) and I had not looked at it in 6-7 months and within 2-3 hours, I had it going again. Knowing that, I don’t stress out as much over losing a song I worked hard to learn and got to a performance worthy status.

Hope this helps.

Thanks Bob, that’s a sound strategy - I find I lose them pretty quickly. It’s like a switch once I have recorded it and I just flip it and it’s gone.

I then feel bad that all that work has gone!

[Wrighty]

Originally Posted by AndreF

Hi Peter,

Good questions. I don't think there is any right answer that applies to everyone, but here are some thoughts to consider.

I like to schedule "practice" and "playing" time. Ideally at separate times of the day, but that's not a necessity.

Practice time is the session to work on new material, drills, scales, arpeggios (whatever it is that is helping you at that time). The best time to do that I find is in the morning with a good cup of coffee (or tea), when your mind is freshest and can absorb best. At least it does with me.

Playing time is the perfect opportunity to go through those pieces you've memorized and have moved on from. Think of it as using the principle of natural harmonic frequency, like pushing a kid on a swing. It doesn't take much effort once you get the swing going. Similarly, it wouldn't take you much time to go through Adelita and Lagrima now because you've gotten them down so well. It's practice time too in a way. You can polish them as you go. It's also a good time to grab the steel string and play through something in your repertoire. Not working, just playing.

You might find over time that some pieces will stick with you, others won't. And you don't have to play the same ones every day. After a while, once a week or so is plenty.

If you don't, you will start to forget them. And that's a pity. The problem with just moving on to another project is, you'll end up in your workshop all day, with not much to entertain yourself with. Every playing session becomes a set of chores. Not much in the way of positive feedback.

In summary, I would say it's fine to dig in to some new pieces, but keep some time during the day for just playing.

Lastly, avoid being too hard on yourself if you do forget the one or the other piece. You'll find that if you start working on them again, they come back very quickly, and sometimes even better.

So, that would be my recommendation: Practice, and play. Do both.

Hi Andre, thanks for the input - makes sense.

I tend to split my playing up anyway so I could certainly do as you suggest. I often have pieces at different stages that I am learning - so at present I know the Sor Etude well and can play it with my eyes closed, but Capricho has a long way to go technically.

It is a pity to forget pieces that you have worked so hard to learn and play, hence me wanting to change my strategy.

[Wrighty]

Originally Posted by RodB

I suggest a mixture of both as well.



Push forward with new interesting and challenging pieces, but not only maintain the others under your fingers but try out different phrasing and dynamics, always striving to develop the music as well as technique.



In some ways it is then still about practice, not just repetition.



BTW I am impressed with your commitment and ‘journey’ Peter.

Thanks Rod, I appreciate your support, it just makes it all so much easier to use through!

Different phrasing etc is a good idea.

[Wrighty]

Originally Posted by rick-slo

Your call. How much time do you have to be playing guitar? That may be the biggest factor in how much repertoire you can maintain.



Longer, more complicated pieces of course take more time to maintain at a good playing level.



Regarding Capricho Arabe it's a very nice piece. I just came across this recording. Not familiar with the artist but IMO he plays beautifully.



https://www.youtube.com/watch?v=y_goHl-GuNk

Hi Derek

That is a beautiful version of Capricho - I believe it’s David Russell playing so no surprise!

My available time varies, but as I am not working at the moment I have more time available so want to make the most of that as it disappears fast when I am working..

[rick-slo]

Originally Posted by Wrighty

Hi Derek

That is a beautiful version of Capricho - I believe it’s David Russell playing so no surprise!

My available time varies, but as I am not working at the moment I have more time available so want to make the most of that as it disappears fast when I am working..

Yes, David Russell. Missed where it said that

Another favorite tune of mine is one I probably used to play more than anything is Heitor Villa-Lobos Choro No.1. Check that one out.

[Gitfiddlemann]

Originally Posted by Wrighty

Hi Andre, thanks for the input - makes sense.

I tend to split my playing up anyway so I could certainly do as you suggest. I often have pieces at different stages that I am learning - so at present I know the Sor Etude well and can play it with my eyes closed, but Capricho has a long way to go technically.

It is a pity to forget pieces that you have worked so hard to learn and play, hence me wanting to change my strategy.

Re: Capricho
Yes, that doesn’t surprise me. It does present some technical hurdles. Maybe we can compare notes. I’ve revived that one and am playing it often. Or I should say, practicing it. There are a couple of fast runs that tend to trip me up if I rush it too much. It’s all about keeping the flow while stretching and compacting the time. And not get too emotionally involved with all that romanticism going on…
It’s such a beautiful piece though. Working on it is never a drag.

Originally Posted by rick-slo

Another favorite tune of mine is one I probably used to play more than anything is Heitor Villa-Lobos Choro No.1. Check that one out.

It's funny you should mention that one. If there is one classical piece which reminds me of your compositional style, it is that one.

[Wrighty]

Originally Posted by rick-slo

Yes, David Russell. Missed where it said that

Another favorite tune of mine is one I probably used to play more than anything is Heitor Villa-Lobos Choro No.1. Check that one out.

I love that piece - definitely on the (long) list of tunes to play!

[Wrighty]

Originally Posted by AndreF

Re: Capricho

Yes, that doesn’t surprise me. It does present some technical hurdles. Maybe we can compare notes. I’ve revived that one and am playing it often. Or I should say, practicing it. There are a couple of fast runs that tend to trip me up if I rush it too much. It’s all about keeping the flow while stretching and compacting the time. And not get too emotionally involved with all that romanticism going on…

It’s such a beautiful piece though. Working on it is never a drag.





It's funny you should mention that one. If there is one classical piece which reminds me of your compositional style, it is that one.

For me I find the section (B I guess) starting around bar 35 in the thrived position, very tough to play cleanly. There is no shortage of slurs in this piece!

I also love Marbella - fairly similar in feel to Capricho.

[Silly Moustache]

Originally Posted by Wrighty

Hi all

I wanted to seek some views on the best way to allocate practice time - primarily between old / existing repertoire and new pieces.

In my case, I have two pieces that I have worked up and know - Lagrima and Adelita, and am working on two others - For Etude Bm and Capricho Arabe.

My inclination is to spend all my time on the two new pieces, as these clearly need the most work. The downside of this is that I lose the older pieces from memory and would need to spend some time to get them back should I want to.

If I spend some of my time on preserving these older pieces, then I lose valuable time on new pieces, and so it goes..

What do you do, and what are your thoughts on this?

How important is it to keep my hand in on older pieces - obviously this becomes much more challenging as the repertoire increases over time.

Hi Wrighty,

I admire tour playing and your dedication, but this is a hobby.

Why not just play what you like when you like, and just enjoy the experience?

I do remember the great Tim O'brien saying something to the effect that it is better to play for 15 minutes every day than two hours once a week.

On the other hand I recently watched a video about the singer Tony Bennett (94) who has Alzheimers.

He has his pianist visit twice a week and he sings his whole repertoire just to keep them in his memory.

Here's an idea - why not play each number once a week then play a "concert" (whole current repertoire) in the kitchen, lounge alone or to your wife, dog, cat, goldfish once a week or so?

Another tip. When there is always a flub/fumble in a piece don't play the whole thing through again as you might be practicing errors - Stop and play that difficult piece over and over until you beat it, then play al the way through. It is too easy for us to practice errors!

[j3ffr0]

My two cents is that you are already on the right path. You are having fun, learning, and making music! What could be better? Highly structured practice routines are the kiss of death IMO. Someone in a "routine" will soon likely find a reason to get out of that "routine" and possibly not play at all due to burn out. My advice is to make music, play what you like to play, and learn what you like to learn.

Regarding old pieces and my overall catalog of material, I keep a spreadsheet and update it monthly. I find that this reminds me of things I really want to work on, but have forgotten about. Also on some older material that I haven't played in a while that might need a dusting off.