Slow Practice¶
Summary: Practice at a slow tempo -- but not in slow motion -- to complement your fast practice.
First, an important definition: “Slow Practice” does not mean playing things in slow motion. Your motions should still be energetic, sharp and swift, but they should be clearly separated from each other, with as much time between them as needed to stay completely relaxed and alert. That’s key!
Slow and fast practice are both necessary for technique and repertoire, and complement each other. You learn how to play fast by playing fast (see Why “Start slow” fails), but once you have some speed and smoothness, slowing down is vital.
For example, take the following opening of the Kreutzer Etude #5:
Kreutzer etude intro
Picking hand¶
For slow tempo picking, do staccato picking: with a small “twitch”, move your pick very quickly through the string, and immediately stop the string from ringing by resting the pick on the other side of the string. There is no large muscle involvement, it should be a very short sharp motion, with just enough twitch to get the pick through the string – you can still get a good loud tone with a fast twitch.
Picking
Some picking motions, like sweeps or crosspicking, can’t be effectively exercised with this method, as far as I know!
Fretting hand¶
Even though this example is picked, practicing the left hand slowly and evenly can secure and even out your fingering.
Apply minimal pressure to fret the strings – it’s easy to push too hard when going slow. Keep the pressure light and easy. And make sure it’s rhythmically even.
There are two different ways I can suggest for slow-practicing your fretting hand. In both examples, all notes are hammered, no picking:
Soft, staccato
Staccato hammers
Playing notes:
Fingers in position above string - no “wind up”
With fingers only, no arm muscles, place one finger down, and raise the adjacent
Play pianissimo (very quiet), all attention on fingertips - this regulates the energy you’re using
Use a staccato touch
This is tiring work, for the central nervous system.
Firm, legato
Legato hammers
Playing notes:
Fingers in position above string - no “wind up”
With fingers only, no arm muscles, swiftly and firmly fret one finger, and raise the adjacent - this emphasizes an efficient hammering motion
Play moderate volume, as long as you don’t involve any extra muscles, and don’t continue to press hard once the note has sounded. Release as much pressure as you can, while still hearing the note.
Why this works¶
Slow practicing is vital, and is much more mentally tiring than physically.
It lets you observe your tension levels in your whole body and mind.
You can fine-tune necessary motions and suppress (inhibit) unnecessary ones, which you can then apply to your fast playing.
Your body can accurately “feel” the motions internally. “Proprioception” refers to the body’s ability to perceive its own position and motion, and the body’s analysis and synthesis of these proprioceptive signals is important for motor skill acquisition. When we practice fast material, we’re throwing a pile of information at our nervous system, and slowing down ensures that the proprioceptive sensations are clear and distinct.
It ensures that you are playing the right stuff. It is easy to go full out, and not notice irregularities in timing or tone. Slow and extremely even practice works out the bumps.
For repertoire, once you have a piece down pat, slow practice has the same benefits, plus it ensures that you’re never completely relying on muscle memory during performance, and are in full control.
Note
Reminder: “Slow Practice” is about fast motions at a slower tempo, or even no tempo, not playing things in slow motion!