Yes to both of those ways of working. They help get the music clearly in the mind's ear re the details of pitch and rhythm and also help develop, in a very natural way, expressive playing.
It works for me. And a bonus is that I keep my interest through the long repetitious process of learning the piece. Otherwise a piece that may have spoke. To me once loses the magic after dissecting it and repeating it so much.DavidKH wrote: ↑Fri Sep 14, 2018 4:55 pmThanks to all the reply’s on my post of phrasing and musicianship. I think they all must go together to make the whole. The emotion part that Rick Beauregard mentioned seems to be the life part of making music and singing the melody lines is a great idea because singing is a most human and emotional thing to do. This may sound silly or or elementary but I think I’m finding that if I mentally build a narrative or story of what the music may be about, that helps me feel the emotions and perhaps infuse them into the piece.
This is a very important part and I often overlook it.
Similar to that, I often visualize the sound of the music I play as geometric shapes rotating and turning, changing colors, form and size as the music moves.
I think this is really the key. Being able to understand and articulate what emotions you want to convey is an essential step. The techniques for consistently doing so then develop with practise and (self) criticism.