Addie has a point.  You can't play fast until the tune is on autopilot.  I guess that means learning the dang thing until you almost get ill of it.  If you are playing with a fast bunch, you really can't keep up if you have to think your way through a tune.  It has got to happen automatically.  Learn slowly.  Learn the tune completely, where it comes to you without thinking.  Increase your speed in distinct steps.  That will get you there. 

That wasn't my input.  I just condensed the info from a book that took about fifteen pages to say it.

Autopilot is good for nerves, too.  Just make sure you play AABB... not AAABAABBBABB...  Not that I ever did anything like that. 

I definitely come from the "learn it slow" school.

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Originally posted by woodwiz

Since I started this thread, I gave up on the "accelerating" metronomes.  Found that for me it was better to play the tune through at a constant speed, and bump it up a notch  between repetitions.

You do have to have a tune down solid before you can safely start throwing in variations. For me that means playing a tune several times a day for anywhere from one to 3 months.

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I'm a guitar player, but I learned about Transcribe! from your post while searching for a speed ramping metronome, tried it, and liked it a lot. 

As a return favor, I thought I mention that version 8.2 of Transcribe! now has a sweet Speed Up feature, which allows you to repeat a whole piece or section at gradually faster pace. It has settings for the starting speed, ending speed, how many reps at each speed, and  the percent of speed-up for each increase.  Pretty neat.  In 10 minutes of trying it out, I took a stubborn little riff I've been working on for months from 80% to 90%.  Thanks, Herm.

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Originally posted by eblues

quote:

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Originally posted by woodwiz

Since I started this thread, I gave up on the "accelerating" metronomes.  Found that for me it was better to play the tune through at a constant speed, and bump it up a notch  between repetitions.

You do have to have a tune down solid before you can safely start throwing in variations. For me that means playing a tune several times a day for anywhere from one to 3 months.

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I'm a guitar player, but I learned about Transcribe! from your post while searching for a speed ramping metronome, tried it, and liked it a lot. 

As a return favor, I thought I mention that version 8.2 of Transcribe! now has a sweet Speed Up feature, which allows you to repeat a whole piece or section at gradually faster pace. It has settings for the starting speed, ending speed, how many reps at each speed, and  the percent of speed-up for each increase.  Pretty neat.  In 10 minutes of trying it out, I took a stubborn little riff I've been working on for months from 80% to 90%.  Thanks, Herm.

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 Then they have "caught up" with mTrax in that regard.

Another thing I remember that mTrax does that hardly any other program (including Transcribe) is able to do is allow you to build "libraries" or playlists - and eveything you did to make your playlilst - learner friendly (pitch change, tempo change, sections or loops, and repeat loop with incremental increases) will be remembered the next time you open the program. It will also let you create sub-libraries (a playlist within a playlist) for practice or levels of difficulty or gig list, etc. And you can burn practice CD's for other folks from your "tweaked" tunes on the list. IMO - a pretty cool program.

A program developed for practicing musician and user friendly. I have never found one I like better.

Edited by - tonyelder on 07/20/2012 23:36:10

I'm looking for some free software that will play a tune at a slower speed without changing the pitch.  The key word here is "free."  People in this discussion have recommended software that you need to pay for.  Can anyone recommend software for this purpose that is free (not just free to try)?

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Originally posted by Peghead

Have you ever seen a someone who can play fast but who isn't very good yet? Most people learn the notes and slowly, gradually ramp up the speed but for fun, you can also work backwards from the other end.  If you are an intermediate player, as soon as you have the tune committed to muscle memory, spike the metronome right up to 140 (or whatever)  and have a go at it. Have a blueberry pie eating contest, no one gets hurt and you can sweep up the mess later. Seriously, just try 3 or 4 note phrases at a time, at a ridiculous  speed and learn to relax  and manage the string crossings. Guaranteed you'll learn something about yourself.  Eventually over time you'll loose the fear of tempo which is what makes people tense up because they think it's "hard".  If you can learn to "live" at that speed, even if your tone sucks you be comfortable . You may have to adjust your grip. Tone is best learned slowly (IMO) so don't stop doing that,  but  you don't have to wait either, it's all good. If you want to play fast, start playing fast. Just another way to look at it. 

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Peghead, that is a very good post.  Also, a bow pattern that works me at a slow speed may be difficult to play fast.  That is why I really try to get a nice rhythmic flow to the bow when I am learning a tune.  No, I don't mean a set pattern such as has been debated a lot on the Hangout lately.  I mean the bow should flow smoothly at all times.  I it is necessary to make a 'jerky' movement to get through a part of a tune, I change how I am using my bow.  That really helps me play faster.  LEE

If you run into those jerky spasm spots you should break it down slowly and see where the problem is. (it could be the noting finger, tension, or just a new combination of things you've never encountered before.) I know when it's ironed out because the bowing flows like cursive handwriting, cyclical and continuous. I have a string crossing routine that I practice using curves and looped figure "8" shapes. Even saw strokes are not straight, they are shaped like flattened  ovals so they connect smoothly with the other string crossing motions. The bowing you use to play slow may not translate well as you ramp up, the balance point becomes more crucial, but the idea is the same. Once you know the shape of the course keep your car on the track. 

Edited by - Peghead on 07/22/2012 13:43:58

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Originally posted by Peghead

If you run into those jerky spasm spots you should break it down slowly and see where the problem is. (it could be the noting finger, tension, or just a new combination of things you've never encountered before.) I know when it's ironed out because the bowing flows like cursive handwriting, cyclical and continuous. I have a string crossing routine that I practice using curves and looped figure "8" shapes. Even saw strokes are not straight, they are shaped like flattened  ovals so they connect smoothly with the other string crossing motions. The bowing you use to play slow may not translate well as you ramp up, the balance point becomes more crucial, but the idea is the same. Once you know the shape of the course keep your car on the track. 

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I hope that what you just said is what I just said...  I don't have jerky movements in my bow.  The goal is to play fluidly.  Cursive writing is a good analogy.  If you listen to the tunes on my home page you will hear that I have a lot to learn but I do try to be 'fluid'...  I was busking at the local farmer's market yesterday, and three professional musicians complemented me on my relaxed right hand.  That was good, but I would have rather heard them say that I sounded good..LEE

Edited by - leemysliwiec on 07/22/2012 14:02:26