Re: [Harp-L] Harp practice

[Don Whitener <whitener@xxxxxxxxxx>]

At 03:29 PM 7/28/2005, Paul Routledge wrote:

> I was wondering how everybody else structures their practice?

The following message was posted by Robert Bonfiglio some time ago.  Most 
people will not or cannot devote the amount of time that he discusses, but 
the suggestion is made that the proportions of types of practice should be 
maintained.  Even if one doesn't like that degree or type of structuring, 
perhaps some of his suggestions would be of benefit.  I don't agree or 
disagree with RB; I just pass it on.  It certainly seems to have worked for 
him...

Cdon


QUOTE:

Date: Mon, 20 Mar 2000 19:35:43 -0700
To: harp-l@xxxxxxxxxx
From: bon@xxxxxxxxxx (Robert Bonfiglio)
Subject: Bonfiglio: How to practice

Dear List,

I got a lot of emails on just how to practice. This practice method comes 
from my coach, Andrew Lolya, who was first flute of the New York City 
Ballet for about 38 years and studied with the first flute of the 
Philadelphia Orchestra - so it is passed down from wind players for a long 
time.

4 hours of practice is split. Less time and the proportions remain the same.
        One hour scales and arpeggios
        One hour etudes or rhythm work
        One hour duets
        One hour work on a piece

For a blues or jazz player - Work with a sax player as a coach. Play scales 
and arps with a metronome. Let our etudes be tongue work and corner 
switches or specific pitch bends; play faster and louder over years.

For a blues or jazz player - duets could be substituted for - use blowing 
over changes and there are tons of CD's one can now buy for that purpose 
plus machines that play background. Jazz duets are available.

Beat the piece you work on into the ground til you know it backwards and 
forwards.

Harmonically yours,
BONFIGLIO

END QUOTE