Kunstflug / 3 D Step by Step

[chris@osttirol]

Kunstflug / 3 D Step by Step

Wenn du zügig vorwärts kommen willst, solltest du immer mehrere Sachen gleichzeitig üben und nicht nur eine Figur bis zur Vergasung.

Also meiner Meinung muß mann eine Figur solange üben bis man nicht mehr steuern kann . Man kennt den Punkt deutlich und sollte dann mit dieser Figur aufhören und die nächste beginnen wieder bis diese nicht mehr geht usw.

Das bringt den meisten lernnutzen und am wenigsten Spaß!!

mfg

[Stone]

Kunstflug / 3 D Step by Step

Hallo,

ich bin vor einiger Zeit auf runryder über einen Beitrag gestolpert, der mir persönlich sehr geholfen hat.
Witzigerweise gehts dabei eigentlich um das Erlernen eines Musikinstruments, aber die Prinzipien sind 1:1 auf das Erlernen des Heli-Kunstflugs übertragbar.
Leider ist das Ganze auf Englisch - ich stelle es trotzdem hier mal rein.

Gruss,
Thomas

A lot of people have problems learning to play musical instruments. Some just don't have the ability, but that's probably pretty rare. Look at the morons who get rich playing three chords on the radio. If they can do it, you can probably do it, too.


I think the problem is that people get really stupid advice on practice from their teachers, so I'll tell you how to do it in a few short words.


1. Get the best instrument you can afford. If you buy it right, a good used instrument is cheaper than a crappy new one, because you can sell it and get all your money back. Good used instruments usually appreciate. Practicing on a bad instrument can be unrewarding and even painful, and it may limit what you can do.


2. Try to find an instrument you will enjoy playing. I learned the banjo, the mandolin, and the guitar, and now I never touch them. Banjo music is limited and boring, the mandolin has no versatility, and the guitar, while less limited, is very hard on your fingers. My J200 has an action like butter, but I still felt like it was biting me every time I played it. The piano, to me, is always a pleasure to play. If you want to see the coarse analogy I used, go read the comments to Acidman-s entry.


3. Never forget this. Vladimir Horowitz said, "The impossible becomes possible through practice." Things your body is physically incapable of doing now will become as easy as breathing if you practice them enough. Remember the first time you tried to ride a bicycle? Music is no different. Don-t be discouraged because you-re totally inept when you start. It means absolutely nothing.


4. Don-t practice for TODAY. Practice for the future. It's perfectly all right to stop practicing something for the day, while you're still playing it really badly. Most of the time, you won't make much progress while you're actually practicing. You'll make progress while you sleep. If you don't understand this, you will probably go crazy long before you learn to play. Practice the things that you can't do right, every day, even if you don't seem to improve, and one day, you'll sit down to practice and find out that you can play them. That's not bizarre; that's normal. What's bizarre is making big strides during a practice session.


There's a couple of measures from Chopin's B minor prelude that I have been practicing for three minutes a day, since early last year. Seemed like they sounded the same, month after month. Finally, a few weeks ago, they came together. Now those few little notes sound like Van Cliburn is playing them, even if the rest of the piece sucks. That's what perseverance does for you.


Think of practice the way you think of lifting weights. You don-t do a set of bench-presses and then expect to lift bigger weights the same day. The improvement comes later.


5. Practice a LOT. Six days a week. An hour a day will make you an average player. If you want to be good, make it at least two. And playing aimlessly is not practicing.


6. Practice the same things consistently. If you practice a lick one day and then move onto something else the next, you-ve wasted your time. Practice it at consecutive sessions until you get it. Anyone who tells you do to otherwise is an idiot or a prodigy.


7. At least once a week, you should either skip practice or forget the practice list. At least once a year, you should take a week off and not even touch the instrument. Arthur Rubinstein's teacher forced his students to lay off for a month every year. You'll be surprised how a layoff will improve your playing.


8. Don-t practice by playing an entire piece over and over, one note at a time. That-s the pea-brain way. Take it in short sections. Practice the first section until you can play it pretty well. Once you can do that, you need to add two more things. Practice the next section, and practice both sections together. When you get the second section down okay, move on to the third. Every day, practice the third section by itself, and then practice the first, second, and third as a unit. Keep going this way until you get to the end of the piece.


This isn't just easier than playing through the whole piece over and over, which is what idiots do; it's the correct, fastest way to learn. Practicing a short section over and over is called -cycling,� and it-s very efficient. Be careful, though, because repeating the same motion over and over can hurt you.


If you're a good sight-reader, and you can play through entire new pieces well enough to make it worth the trouble, do that, too, because it will put a roadmap in your head that will help you find your way later.


9. You're going to hit parts where you seem to get stuck. Isolate these parts and practice them separately, as well as playing them when you practice the piece as a whole. Josef Hofmann said it-s like making a part for a machine. You practice the problem section separately to make the part, and then you practice fitting it in the piece, as a way of -mounting� it. It-s a good idea to practice the little bits at each end of the hard part, so you-ll move into and out of it smoothly when you play the whole piece.


Hofmann also pointed out that you can use these hard parts to make your own exercises. They tend to show you where your general problems are, so if you work on them as though they were exercises, they-ll improve your overall technique.


10. Use a timer when you practice. I'll give you an example. Say I'm learning a Chopin prelude. I'll do 15 minutes on the section I'm working on. I'll do at least 5 minutes each on the little bits I can't seem to get right. Then I'll play as much of the prelude as I've learned, over and over, for 15 minutes. A timer will make you practice more than you would if you just guessed at how long you were practicing various bits.


This doesn-t include everything I do.


11. If you-re practicing a small section of a piece separately, practice it before you practice the piece itself. That way, you-ll be warmed up and playing the small section as well as possible when you run into it while practicing the piece.


12. Make a list of the things you're practicing, the order in which you practice them, and how many minutes you give to each. Try to stick to it. At the start of every week, or whenever you make a jump in progress, revise the list.


13. Get an external rhythm source to play with. Learn to follow an external beat. This will do more for your playing than anything except repetition. It makes your playing fluid as well as rhythmic. The best source is other people you can jam with. The second best source is a recording. The third best source is a metronome. If you use a metronome, be careful not to use it too much, because it makes some people play too rigid a beat. This won't happen with recordings and live musicians.


14. Try not to practice anything for more than 15 minutes straight. If you're using a timer, take thirty or forty seconds off between sessions. If you've been going an hour, go get a glass of water or something. Make sure you stay away at least two minutes and no more than five. If you want to practice one thing for an hour, do it in four sessions of 15 minutes each.


15. Don't practice all the damn time. Sometimes, you have to play. If you don't play for pleasure sometimes, you'll never loosen up, because in your mind, you'll always be practicing; trying so hard to improve that you forget to make good music.


16. Usually, when you practice, you should focus as hard as you can. Don't watch the TV. Practice alone, with no distractions. You'll make better progress. But sometimes you'll have to practice some routine movement, such as a new fingering. For this type of thing, you don't always need to focus all that hard. It's fine to extend your practice time by doing it in front of the TV.


I'll give an example. I had to change the fingering on a piece I was learning, and I got tired of sitting at the piano all day. So I got a crappy plastic keyboard and used it while watching movies, IN ADDITION to practicing at the piano while concentrating very hard. It's not a substitute for the real thing, but it can be a very painless way to get an extra hour of practice in every day.


17. Don-t listen to people who tell you to practice slowly until you get the technique, speeding up gradually. You should do that, but you should also practice way too fast and at the correct speed. Practicing too fast will build your speed. Practicing slowly will prevent the fast practice from ruining your technique. Practicing at the correct speed will help you get ready for playing the piece.


18. Every once in a while, work on a piece that-s too hard. Even if you never get it, working hard on it will make you better at every other piece you play.

[rotorandi]

Kunstflug / 3 D Step by Step

Solche Lernbarrieren lassen sich manchmal mit einer längeren Pause durchbrechen. Ist sonderbar, man lernt nach einer intensiven ßbungsphase auch ohne ßben

Bei mir ists genau umgekehrt. Ich hab nach ner Pause alles wieder verlernt. :O

Gruß: Andreas

[Klaus G.]

Kunstflug / 3 D Step by Step

Bei mir ists genau umgekehrt. Ich hab nach ner Pause alles wieder verlernt. :O

Gruß: Andreas

Dann war sie zu lang