Practice Tips

Links to Practice Help

Free Online Metronome

Free Online Tuner

How to Practice (trumpet example)

Metronome use (bassoon example)

Tuner drone use (bassoon example)

Music Term Definitions

Volume

Crescendo (cresc): Gradually increase the volume

Decrescendo (decresc.): Gradually softer

Diminuendo (dim.): Gradually softer

Forte (f): Strong or loud

Fortepiano (fp): Loud then immediately soft

Fortissimo (ff): Very strong or loud

Mezzo: medium or moderately (as in mezzo piano or mezzo soprano)

Morendo: Die away

Pianissimo: very soft

Piano: Soft

Sforzando (sfz): Loud sudden attack

Tempo

Grave: Very very slow and solemn (30-50)

Largo: Broad and slow (40 - 50)

Lento: Slow & calm (but not as slow as Largo) (50)

Adagio: Slowly, leisurely (60 - 80)

Andante: In a walking tempo, moderately slow (80 - 96)

Maestoso: Majestically (80 -104)

Allegretto: Tempo between Allegro and Andante (96-116)

Moderato: In a moderate tempo (112-130)

Allegro: Quick and lively (120-160)

Vivace: Very Fast (140 - 180)

Presto: Very fast (160-200)

Prestissimo: As fast as possible (180 + )

Tempo Modifiers

Accelerando (Accel.): Gradually increase the tempo

Alla Breve: (Same as cut time) - Two beats per measure & half note get the beat

Allargando: Gradually slower and broader

A tempo: In the original speed

Grand Pause (G.P.): A long pause in the music

L'istesso tempo: In the same beat speed

Meno Mosso: less motion, a little slower

Piu mosso: more motion; a little faster

Rallentendo: Gradually slower

Ritardando: Gradually slower

Rubato: Not in a strict tempo

Stringendo: Press the tempo; gradually faster

Tenuto: Hold full value or stretch the notes

Form

Attacca: Attached

Cadenza: extended section for soloist alone

Coda: A finishing section (tail)

Da Capo (D.C.) : From the beginning

Dal Segno (D.S.): From the sign

Fine: The end

Instrumentation Instructions

Ad Libertum (ad. lib.): At the performer's discretion, improvisation

Divisi (div.): Divide the between players

Ossia: an alternate part

Soli: Like instruments playing same part

Solo: one player

Tacet: Silent

Tutti: Everyone

Unison: All play same part

Stylistic Indications

Animato: In an animated style

Brio, con: With brilliance, with spirit,

Cantabile: In a singing style

Dolce: Sweetly

Espressivo: With Expression

Fuoco, con: With fire

Grazioso: gracefully

Legato: Smooth and connected

Maestoso: Majestically

Marcato: Marked with distinctness, every note accented

Pesante: Heavily, emphatic

Semplice: simple

Sostenuto: Sustained

Staccato: Separated

Secco: dryly, extremely separated

Sordino: Mute (con sordino: with mute; senza sordino: without mute)

Qualifiers

Assia: very (Allegro assia -very fast)

Con: with (con fuoco - with fire)

Molto: Much (molto crescendo - increase volume significantly)

Non troppo: Not too much (Allegro non troppo - not too fast)

Poco a poco: Little by little (diminuendo poco a poco - softer little by little)

Subito: Immediately, suddenly (subito piano - suddenly soft)

Senza: Without (senza sordino - without mute)

Sempre: Always (sempre staccato - always separated)

Simile: Continue in a like manner (usually used for articulation)

Definitions of Warm-up Techniques

  • W1. Long tones (listen for best sound)

    • Start out by playing low, long notes.

    • A scale is a good pattern to use.

    • Listen to your tone.

    • Percussionists, listen to how even your rolls are.

  • W2. Brasses buzz on mouthpiece

    • Remove the mouthpiece.

    • Play notes/melodies just by buzzing the mouthpiece.

    • Listen carefully for a very full buzz.

    • Buzzing along with a CD or iPod can be helpful.

  • W3. Articulation exercises

    • Practice different types of articulation: slurred, legato, staccato, accents, etc.

    • Practice articulations to increase tonguing speed.

  • W4. Experiment with muscle placement

    • As you are playing long tones, listen very carefully.

    • Make adjustments to how your embouchure is set.

    • Listen critically...which ways are better?

  • W5. Watch embouchure in mirror

    • Do warm-up exercises while watching in a mirror.

    • Look for problems (puffed cheeks, bunchy chin, rolled-out lip, off-center placement) and work to fix them.

  • W6. Snare buzz strokes

    • Work to make buzz strokes sound even between right hand and left.

    • Start with a slow roll, then gradually speed it up.

  • W7. Record yourself and listen for tone

    • Play back the recording and listen to your sound.

    • Do you hear problems? Airy sound? Pinched? Unsupported?

    • Try to fix it and record again.

  • W8. Snare rudimental practice

    • Practice the rudimental patterns you find in the back of your method book.

    • Make sure to practice at different tempo markings.

  • W9. Use a tuner on notes we use in class

    • Turn on the tuner.

    • Close your eyes while you play the note with your very best sound.

    • When you open your eyes, if the note is sharp, pull out. If it is flat, push in. Note: double reed players should make embouchure adjustments instead of instrument adjustments.

  • W10. Long tones with dynamic changes

    • Start a pitch at piano, crescendo to forte, then decrescendo to piano.

    • Listen carefully throughout this exercise.

      • Be careful to keep a good tone (it's OK to experiment and find out where bad tone happens).

      • Listen to pitch...don't let the note go sharp or flat.

  • W11. Check posture/instrument position

    • Be sure to think carefully about how you are sitting...always use good posture.

    • Check your hand position

      • Are you holding the instrument/stick/mallet correctly?

      • Are you using the least amount of motion possible?

        • Winds keeping fingers close to keys.

        • Trombones using wrist motion more than arm motion.

        • Percussionists keeping sticks/mallets down as much as reasonable.

  • W12. Brass lip slurs

    • Play patterns going back and forth between notes using the same fingering/slide position.

    • Make this sound as smooth as possible (will require a LOT of air for upward slurs).

    • Play a pattern, take the mouthpiece out and buzz the same pattern with no space between the notes, then replace the mouthpiece and play the pattern again.

Definitions of Practice Techniques

  • P1. Tap and count

    • Tap the rhythm pattern of the music on your lap while you count out loud.

  • P2. Say (tah) and finger

    • Using the syllable "tah," say the rhythm pattern while you finger the pattern on your instrument (or tap in the air for percussionists).

  • P3. Count and finger

    • Count out loud while you finger the pattern on your instrument (or tap in the air for percussionists).

  • P4. Silent foot tap while playing

    • Tap your toe with very small motions at the speed of the beat.

    • You should not hear your foot hitting the floor.

    • Make sure you are tapping the steady pulse, not the rhythm you are trying to play.

  • P5. Sing (solfege) and finger

    • Sing the pattern on "la" while you finger the pattern.

    • Sing the pattern using solfege syllables while you finger the pattern.

  • P6. Add one note at a time

    • Play the first note of the phrase, for the correct amount of time.

    • Next play the first and second notes, again in the correct rhythm.

    • Continue this way, adding one more note on each repetition.

  • P7. End with a run-through

    • When you have finished taking a piece apart to practice it, play through the whole piece (or section) WITHOUT stopping to fix mistakes.

  • P8. Practice with metronome

    • Set your metronome (see link for a free online metronome if you don't own one) for a tempo slow enough that you can play the passage with NO mistakes.

    • Gradually bump the tempo up higher until you start making mistakes.

    • Do not go to the next higher tempo until you can play the passage at the current tempo without mistakes.

  • P9. Look for patterns

    • Much of music includes patterns. Being aware of these patterns can make it easier to play.

    • Look for things like

      • Scale patterns

      • Thirds

      • Repeated notes/rhythms

      • Melodic patterns that recur on different pitches

      • Music that appears in the same form in multiple parts of the piece

    • Isolate the patterns and practice them back-to-back.

  • P10. Count in your head

    • Think the counting of the passage in your head while you play it.

  • P11. Percussion: count out loud

    • You are the only ones who can count out loud and play at the same time...take advantage of it! :)

  • P12. Play rhythm on one pitch

    • Take out a tricky rhythm and play the whole pattern on the first note (or another note that is comfortable for you).

  • P13. Work on small chunks

    • Break a passage down into smaller pieces

      • Pairs of notes

      • Articulation groupings

      • Measures

      • Phrases

    • Be sure to put the chunks back together when you've practiced them separately.

  • P14. Start slow, then go faster

    • See P8 for how to do this with a metronome.

    • If not using a metronome, follow the same directions as P8, but you set your own tempo.

  • P15. Listen -- does it match page?

    • Listen carefully for all aspects of the music

      • Pitches: do they go the same direction as they do on the page (up or down)?

      • Rhythm: are different note values played for different amounts of time?

      • Articulation: Did you notice them? Are you being careful not to add extra notes to slurs?

      • Dynamics: Are you exaggerating what you see on the page?

  • P16. Isolate one small aspect

    • Work on one tiny part of the music

      • An interval

      • An articulation

      • A small rhythmic pattern

  • P17. Take out the slurs

    • Practice a slurred passage as tongued, to make sure rhythm and pitches are correct.

    • Be sure to practice it slurred after you have fixed the rhythm and pitches.

  • P18. 5 times in a row no mistakes

    • Play a pattern five times PERFECTLY.

    • If you make a mistake, you start your count over again.

    • You can combine this technique with P8 and P14 to really learn a passage.

  • P19. Use our subdividing exercise

    • Tap the big beat with your heels.

    • Pat the subdivisions on your lap.

    • Sing the melody on "tah."

  • P20. Work on end, then back up

    • We often start by practicing the beginning of a piece. By the time we get to the end, we're tired and not as well-focused.

    • Work on the last section first.

    • Next, back up and work on the section before that.

    • Put the sections together.

    • Repeat, adding one more section each time.

  • P21. Subdivide while playing

    • Think the smallest parts of the rhythm constantly in your head while playing.

      • Example: if the pattern includes 8th notes, think 8th notes at all times, like a metronome. If the fastest notes are 16th notes, think those throughout your playing.

  • P22. Mark key signature notes

    • Using a pencil, mark any notes affected by your key signature.

    • Please mark by using the appropriate accidental (flat, sharp, natural) in front of the note.

      • Circling a note doesn't fix the problem...it only tells you that you might mess up, not how to avoid messing up!

  • P23. Record and listen for mistakes

    • Listen to your recording more than once to identify all problem areas

      • Rhythm

      • Notes

      • Tone

      • Articulation

      • Dynamics

      • Style

  • P24. Play with tuner playing Do...listen and tune.

    • For more on playing along with a tuner drone, see the video link near the top of the left column on this page.