I want a price list of Musical Instruments of India and in Indian currency only.?

Please send details soon as possible or tell me the site address where I can research.

Prices vary by retailer. Look for web pages music stores from India or try sites like eBay, http://www.ebay.in/.

Music is the only sport where simply putting in time is considered a virtue. "I practice my instrument of one hour per day" is something to hear students say they are proud. (Or: "My mother made me practice thirty minutes per day.") Teachers often need a certain amount once a day in the instrument.

When I was a beginner on violin brought me a document each week, calling for my mother register the number of minutes that had practiced every day. I brought the role of my lesson each week and part of my degree was that the number of minutes was performed. The results of the minutes seemed practice, often secondary to this issue.

A large number of minutes spent in simple language, repeat the memory is often presented as the standard way to learn an instrument or a piece of music. My argument is that this is incorrect. Now, before I start to cry I do not know what I say, I want to cancel the idea I mean that a student should not spend a reasonable amount of time practicing the instrument. What I am saying is that our attention should not be on the watch or the number of repetitions to play, must be elsewhere.

Teachers and student musicians must change its approach to how much I practice the extent of progress achieved in practice. A two-hour practice that is made real progress is not as effective as practice thirty minutes a remarkable progress in a way or a technique. It is true that there will be times when the focus is just on repeat and do something good. If the repetition of a technique well done is a great goal. But playing twenty times on the same scale notes played badly whenever he is in fact against-productive.

Let us focus on improving what we do. We concentrate on reading the passage or making art, if not perfectly, at least better than we do before the meeting training.

How can we achieve?

When practicing a technique, I think the key is speed. In fact, I think the key is the lack of speed. We began almost desperately slow. . . slow enough that we can perform the technique correctly. Repeat the technique at that speed until it becomes second nature and at least relatively comfortable. Then speed up. . . enough that we are on the verge of collapse. When we determined at that time is working at this rate until what we have mastered.

This is a case in which a metronome is a great tool. The metronome helps us maintain good speed for our practice. There is also a measure of progress. At the end of a practice, if I can say I Play past thirty beats per minute beats per minute and forty I made significant progress.

If I start with a piece of music I use a similar method that just talk art. I am very, very slowly, with a passage that I can play. Again, the crossing at a speed that I feel comfortable until you can play normally.

Once you have established a point of departure with the piece I use a technique practice as I think, "Y. ..?" In this case, I use the part that I can play well as a starting point and I add. "Well, I will play this role y. ..? "And then add a sentence or measure, or perhaps even a single note. Maybe I'll just try to improve part of the selection and I feel comfortable to make it even better. I'll start slowly as I'm doing the right thing and then I accelerate. At the end of the practice, I can say that I started with the opportunity to play twenty measures correctly twenty-five and now I can play properly, which is an improvement significant.

If I'm really useful instead of just passing the time, I practice almost never ending touch something the same way it was When I started practice. If I can make substantial progress within forty-five minutes instead of one hour, it's great! In fact, I can leave at the end of forty-five minutes. Or they can achieve anything I want to learn by myself, rather than on the request of a teacher. Or you can challenge myself to stay with room for the last fifteen minutes and it really brighten or add three additional measures! I always end by an offensive through the practice room and I can play, then reward me for playing something that I can play well and really enjoy it. Thus, foot of the practical session to feel happy instrument, me and my teacher!

In short, put more emphasis on progress in minutes!

Arthur Haule studied violin in a traditional program for ten years. He participated in several orchestras and an opera company in the New York City area and founded a string quartet. He has taken part in several music festivals and even acted as a violin coach. He is currently webmaster of http://www.ViolinStudent.com Although Art learned violin in a traditional setting, his daughter Adriana studied with a Suzuki Violin teacher. So Art has personal experience in both traditions. And you’ll often hear him say, “It Doesn’t Matter How You Learned, All That Counts Is That You Play!”

A fan of classical music, Art is dedicated to promoting the violin no matter what type of music is being played. If there is a melody there, Art probably listens to it.

Art Haule lives, plays violin, and designs T-shirts for http://www.cafepress.com/violin_student in Flower Mound, Texas with his wife Kathy and his daughter Adriana. He is also a member of the American Numismatics Association edits a series of coin collecting lenses on Squidoo including lenses on Buffalo Nickels, Indian Head Pennies, and the New Lincoln Cents. Search for his lenses on squidoo using the author name “violinstudent.”