When to move on?

[John Bertotti]

My current project is still ( since Christmas ) Bouree Angloise partita in A for solo flute. I can get all the wqay through it. On occasion it sounds decent but there are still tons of mistakes. Other then this song I have only played two other tunes I remember and an occasional foray into an italian book. I see no progress and wonder if I wouldn't be better served moving on and coming back to this later when I have gotten past this lag. What do you all do about this? I have started trying to learn the guitar again. I haven't played since the late 70s and really didn't know much at the time anyway. I have noticed That for the first week both instruments really suffered. I'm now into my second week and both instruments are starting to improve again. Is variaty the real key to progress instead of constant focus on a piece, at least at my low level of learning? Thanks John

[Bob A]

I'm aware of several concert mandolinists who have had a scant 24 hrs after receiving the music to work up a performance, but we earthbound mortals have a harder row to hoe. I've beaten myself up trying to get a handle on a piece that was above my skill level, only to succeed later. (I've also returned to some pieces I'd more or less managed, only to find I had to relearn them from scratch).

Switching instruments for a while helps motivation, but skills do not necessarily transfer.

Remember, this is supposed to be fun. Stick to a project, but not to the point that it causes psychic pain. Go play something you've already mastered, and recapture the enjoyment. Find a couple pieces to memorise and play them in the park.

[Arto]

Thanks for a good question. I hope more exprerienced people will give their opinions, too.

My experience is that if I try to bite the bullet and keep on practicing a difficult piece I want to learn, I will eventually get into a standstill: feeling that I am hopeless, getting frustrated etc. This CAN very well be just lack of self-discipline (I have a lot of it - I mean the lack, not the discipline).

I have been playing Sauli´s Partitas and Riggieri´s Fustemberg variations for a long time. The project seemed promising, as the pieces are not too difficult, I have the sheet music, and Carlo Aonzo plays both in his Mel Bay video, so looking that will give inspiration and maybe helps showing how he is doing left hand fingering. In any case, I have not got the pieces "ready", I keep stumbling on same places, and my playing is not consistent enough. If I just push on playing, I start hating myself and maybe the music, too.

I think it´s good to practice many pieces, and different kinds of music. I have got very excited about Bach lately, and have been playing first cello suite and some less demanding parts of sonatas and partitas. My big goal is to be able to play well the Fuga from the first sonata (I love fugas from my schoolboy-piano-playing days - I had a charming elderly lady piano teacher, who once got frustrated and a bit angry for me wanting to play Bach, and not getting excited at all about Chopin that was her great love) but I have promised myself to give me as much time as needed and learn the piece SLOWLY. After getting my left-hand fingers contorted from those chords, it´s good to play something straightforward tremoloed melody (and tremolo is my biggest stumbling block). When I get frustrated in my tremolo (right hand), I go back to picking Bach (demanding left hand), and vice versa.

Besides, it´s good to listen my many kinds of mandolin music and seeing players or videos if possible (not much classical mandolin scene in Finland...). Everything that gives you inspiration, helps you playing and gets you going.

best wishes, Arto

[John Bertotti]

Bob A and Arto thanks for the replies. I didn't know Carlo Aonzo had a Mel Bay video. I might have to look into that one. Well I'm not hating myself or anything and I picked up J Garbers favorite book of etudes and low and behold I can actually play the first two. Before I couldn't even begin to work them out. I guess focusing on one thing kind of puts blinders on you for everything else. Later John

[Jim Garber]

I didn't know Carlo Aonzo had a Mel Bay video. I might have to look into that one.

Not so easy to find as it has been out of print for a few years now, but worth getting. More about that video here.

John, it must be frustrating to work on these pieces by yourself without other players around or with the input of a good teacher. Sounds like you are doing well tho, considering. best is to relax and enjoy yourself and possibly try some of the easier music from time to time. That is why I like the Goichberg etudes (as well as some of the progressive violin ones) -- they ease you into them.

Jim

[PlayerOf8]

Ya gotta know when to say when. I find that my frustration grows and then I make up excuses not to practice. Eight months on a piece is long enough.

George

[John Bertotti]

Jim and George, Thanks for the replies. I've been working a lot so my visits here haven't been as routine. Anyway Jim a little frustrating at times but usually fixable with a post here. George I haven't called it quits but now it is just one of the pieces I grab once in a while. The most frustrating part is while focusing on this every thing else took a hit. Tremolo the most. That is what irritates the most. That is the one technique I want desperately and now I'm back to playing real slow to get the motions correct not that I was ever very good at it but was much better then now. Any way my new plan is to grab a new piece weekly just for the site reading skill. Work on that piece for timing and regardless of improvement move on after a week. It will then become one of the pieces I can pull up during play time not practice time. Tremolo every day including double stops and if possible a new chord every two weeks not forgetting running through know scales. Hope fully a new scale whenever I grab a pice that calls for it. Anyway have a great week every one I'm off again. Thanks John