Cómo practicar
Lesson time: (2min 55sec)
James Rae explica por qué practicar de forma regular y frecuente es mejor que hacerlo todo de golpe, y propone una rutina sencilla: primero notas largas, luego escalas y después tus piezas.
Copyright © 2023 Universal Edition (London) Ltd., All compositions by James Rae except where otherwise indicated.
Course preview
This lesson is part of the course Saxofón: primeras notas
Watch a preview of the full course below.
Lesson transcript:
The Importance of Regular Practice
As I mentioned earlier, it is very, very important to practice an instrument. You can't expect to improve without practice, just like you can't expect to score a goal without kicking a football.
Consistency is Key
- Effort Equals Results: You have to put in the effort to see results. With practice, it's essential that you do it regularly and often, not cram it. You can't practice once a week, that simply doesn't work.
- Think of it Like Eating: It's like eating food once a week, you wouldn't do that. Your body has to digest music in the same way it has to digest food.
Building a Routine
It's good to get into a routine, starting with:
- Long Notes: Begin with long notes for sound practice.
- Scales: Once you're warmed up doing that, move into scales.
- Foundation of Music: Scales are the building blocks of all music.
- Pieces: Finally, devote time to your pieces, such as the well-known song "Twinkle, Twinkle," which appears later in the book.
What you do in the first two sections, long notes and scales, can be applied in the third section, which is working on your pieces.
The Impact of Technique
Many people leave the scales for the last minute and then cram. This just leads to confusion and very sore lips.
- Regular Practice: I suggest practicing regularly and often as the best way to digest music.
A Good Practice Routine
If you have time available, which most people do if they're honest with themselves, a good practice routine might look like this:
- 30 Minutes a Day:
- 5 minutes of long notes
- 10 minutes of scales and exercises
- 15 minutes on your pieces
Advanced Practice
As you become more advanced, you might also practice sight reading. This is another topic entirely, but you will encounter sight reading during your musical journey when you're presented with a piece of music you've never seen before and expected to play it.
Frequency Over Duration
Many of us don't have the time to practice daily, but it's beneficial to aim for that. If daily practice isn't possible, aim for every other day or three to four times a week.
- Avoid Cramming: Whatever you do, don't leave it for a week and try to cram on a Sunday, it won't work.
Muscle Development
Certainly in the early stages, when muscle development is so crucial, regular practice is essential for improvement.
About the instructor
James Rae nació en Tyneside en 1957. Estudió clarinete, clarinete bajo, piano y composición en la Guildhall School of Music and Drama de 1975 a 1979, bajo la tutela de los profesores Yona Ettlinger, Stephen Trier, Meriel Jefferson y Patric Standford, respectivamente. Desde que dejó la Guildhall, ha desarrollado una carrera muy exitosa y variada en tres ámbitos: la interpretación, la composición y la enseñanza. James Rae ha trabajado en numerosas producciones del West End y del Royal National Theatre, incluida la galardonada Oresteia de Sir Peter Hall con música de Sir Harrison Birtwistle, y ha recibido numerosos encargos como freelance con algunas de las principales orquestas y conjuntos del país. Es el líder del Phoenix Saxophone Quartet, que a lo largo de los años ha ofrecido numerosos recitales y emisiones para la BBC, y ha grabado la obra completa de Carey Blyton en dos álbumes, 'The Return of Bulgy Gogo' y 'Sherlock Holmes meets Dr Who'. Como compositor, James Rae es uno de los autores de música educativa para viento más publicados de Europa, con más de 250 publicaciones en su haber, editadas principalmente por Universal Edition. Su música incluye cuadernos de estudio instrumental, sonatas, métodos, transcripciones barrocas, clásicas y de jazz, además de numerosos volúmenes de dúos, muchos de los cuales figuran en todos los principales programas de examen de viento del mundo. También ha escrito cuatro musicales para colegios con Mike Cornick, y entre sus encargos de mayor envergadura se encuentran The Turn of a Wheel, una gran obra para banda de concierto estrenada en noviembre de 1999 para la North Tyneside Concert Band, de la que fue miembro fundador de niño, y la obertura Moving On en 2012. James Rae ha trabajado ampliamente como asesor de programas y compositor tanto para la Associated Board como para el Trinity College London, y ha participado de forma destacada en el desarrollo de los requisitos de lectura a primera vista para viento madera de ambos comités de examen. Como profesor, ha ocupado numerosos puestos tanto en el sector público como en el privado, y actualmente trabaja en la King's College School Wimbledon, donde dirige la Wind Orchestra y la Concert Band, y en la Shrewsbury House School de Surbiton, donde entrena a tres grandes bandas y a un grupo de cámara. Esa experiencia docente recorre toda su serie de saxofón para MusicGurus, que te lleva paso a paso desde tus primeras notas hasta convertirte en un intérprete seguro y con estilo: First Notes, New Keys & Low Notes, Expanding Your Range, Scales & High Notes, Extended Range & Rhythm, y Polish & Style. read more