Universal Secrets To Playing Fast and... Musically !
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Why Practicing Only Music Might Slow You Down

Vladimir Horowitz, world famous pianist,
supposedly said,

"If I don't practice for a day, I know it.
If I don't practice for two days, my wife knows it.
If I don't practice for three days, the world knows it."


We have all heard the one about the lost man walking
through New York City who stopped a passerby
and asked, "Say, how do you get to Carnegie Hall
from here ?"

The passerby quickly and knowingly answered,
"Practice, Practice, Practice !"

Yes, we all know that practice is important.  Most
of us practice a bit everyday...some of us practice
a lot !  A select few practice 6 hours a day....
Every Day !

But what is it that separates a great orchestra
from a mediocre one ?

Is it just more practice time ?

What quality does the world class soloist have
that others do not ?

More hours in the practice room ?

The answer is no.

The answer is practicing with the right
vision in mind, a vision towards perfecting
not only finger coordination but perfecting
one's inner sense of rhythm.

Without it, music falls apart, it becomes boring
to the listener, forward motion is lost, the
audience starts yawning, the music goes nowhere,
has no story to tell ...the audience finally falls asleep !

So what keeps an audience awake ?

Simple.  It is always a performance that is not
metronomically perfect, start to finish.

A performance that contains exquisite rubato,
a wax and wane of tempo at just the right moments,
the sense that the performance is organic and full
of life, like the shores of the ocean, always
changing, always interesting to watch, always
changing tempo....

But never losing the beat !

That's it !  Never losing the beat although
tempos subtlely sway back and forth with
the harmonies.

We have all heard these timeless performances
but how can we attain this ethereal skill ?

Again, simple.

By training our inner sense of metronomic rhythm
to match our fingers so when we decide to
tell our fingers to slow down, our inner rhythm knows
exactly where we are with the metronomic beat
so we can pick up the musical pace again and keep
the forward motion just ahead of the beat.

This is what the audience hears but can not
explain.  The music sounds natural to them
somehow and is completely satisfying.

That satisfaction is what fills the orchestral
halls week after week.

If you don't believe me, walk into your local
concert hall on a Sunday afternoon halfway through a
performance, count the number of people that are
sound asleep and you will have your answer
about the quality of the playing.

My method is a training course designed to give you that
uncanny sense of an inner rhythm which remains
constant despite your spontaneous expressions of
playing your music with the tempo up and down,
slower then faster.

An inner rhythm that the audience will sense
and captivatingly force them to listen to you
because they won't be able to do anything else
but listen to your artistry.

It is what brought tears to audience members'
eyes as they listened to Horowitz play.

Book One and Two gives you total finger
control with a glimpse into rhythmical

Book Three will develop a world class sense
of rhythm so you can play your instrument
freely and musically without losing that all
important sense of rhythm.

If you need a better understanding for
the motion of complex rhythms or syncopations
then buy this course...right now and get
started with putting your musical future all together.

Whether your challenge is dotted, double
dotted rhythms, triplets, sextuplets or 17/4
time, begin forging that inner sense of rhythm
for your musical freedom today !



~ Jules