Written on November 16, 2012
in Auditions, Composers, Discipline, How To, Musician's Life
It has always been the ultimate goal of many musicians. Sometimes, it’s even the reason young students sign up for music lessons; and definitely the “why” you and me spent so many hours locked up in a practice room.
We want to play it “A tempo”
From day 1 you imagined yourself on stage playing your solo with a great orchestra. That’s the goal. It’s hard to realize we must go through certain stages; an inevitable process. Playing fast is more than just being awesome, it’s actually knowing what it takes to earn that awesomeness. It is also being able to notice every single detail going on while you are performing.
Are you in tune? Is your performance clean at this tempo? Is my hand(s) working to facilitate movement? Play fast is one thing. Playing fast with all of the above completely mastered it’s another thing. After listening to a live performance of all the Paganini caprices, I personally get really excited. I feel the need to be able to execute/have the technique to play these caprices. I believe it’s vital to watch the pros in action. Get pumped up and find the motivation to start taking small steps in the right direction.
All the Elements Together
Playing Fast Requires Time. How much? It depends.
1. On the difficulty of the piece—
2. How many time you’ve done it, and
3. How bad you want it.
If you want it badly you are half way there, said someone I can’t remember right now. Every time you do something, anything, your brain carves some tunnels. These tunnels can brume away easily if they are not deepen enough. How?
Repetition and Time
At some point after hundreds of repetitions you won’t need to do it anymore (don’t worry it will take years so don’t even think about it). For now keep repeating smartly and you’ll be on the right track.
1. Think you are a turtle. It helped me. Move from one note to the other and feel everything; your finger playing that note, intonation, the distance between the new note and the old one and so on.
2. Understand the learning process. It’s not 3 days of slow boring practice. You need a plan.
3. As a rule, practice what you learned the day before (so it can be carved deeply) but still move on to new things.
…it’s also a big ingredient. Knowing that it won’t be “a tempo” tomorrow morning is a big realization. I understand, your eager to play it the way you would at Carnegie Hall. Yeah, that’s the goal but not now. The soonest you get to really understand that, the better and more efficient will your sessions be.
Believe in your abilities and wait.
1. Follow a working plan. Spend at least a month to see bigger improvements.
2. Don’t get frustrated. Big things are not accomplished overnight. Baby steps are essential.
3. Look forward to the end but don’t rush it. Try enjoying the process of building your different techniques and applying musicality.
Musician’s Best Friend; Mr. Beat
Or any other kind of metronome. He is your best companion. He will help you play accurate and evolve with conscience. Mr, metronome will treat you like if you were a baby. And that’s a good thing .
Things to consider:
1. He is your best friend only if you follow him. Don’t lose him. To be efficient is to follow your best friend.
2. Work strategically. Select some excerpts of the pieces you are working on and perform them really slow simulating the conditions you will be executing when you play fast. (e.g. Same part of the bow).
3. When you are satisfied move up. Perhaps 5 points up and try to stay on top of your technique as well as the musical understanding.
Separating all the technical difficulties and practicing them one at a time can very much helps the final result. It will allow your brain to cook things better.
As you work your way up, individual technique practice will enhance each area so that the entire technical aspect works towards one another.
1. Remember the tunnel carving. Repetition makes these tunnels deepen to the point that the info stays forever.
2. Slow practice is crucial for coordination of both hands.
3. To have a smart practice session, you must analyze from different points of view at all times.
As you continue to grow as a musician, you will find that organization is probably the number one thing to focus in order to have a satisfactory performance. You want to play fast? Great! Now, let’s see how we can do that with a good level of musical and technical understanding. You must know your music, the orchestra parts, accompaniment, main lines, how your part develops and where to, and how your line fits among the rest.
When the fast part arrives, controlling your emotions will play a big role. Staying steady and being a good musician should be the priority at all times. Have fun, show off what you have practiced and keep growing as a musician. If you did your homework, you will be growing as a person as well.
Written on November 13, 2012
in Musician's Life, Personal Development
Are you a bookworm? Me too. Although I don’t have a glamorous historic past among the books, I’ve found that books help me write better and have top understanding on the subjects I discuss here on Tips for Classical Musicians.
Great action novels (which I enjoy very much) are a great resource too. They get my vocabulary going and my imagination escaping away from this world.
These books gave me so much and hopefully they’d do the same for you.
Remember that if you control your personal life, you will succeed in your professional.
First, I’d like to introduce you with two of the greatest books I’ve ever read in the financial and business department. Want to set small business in music? No problem. The $100 startup will give you tons of ideas—not a music related book though. When I read it, I found myself constantly getting new ways to start a business in music. The book was written by the same guy who introduced me to Travel Hacking.
I Will Teach You to Be Rich is another essential read. Rami gives you an inside on how to manage a life where you take 100% control of your money. If you apply his advice, your future will brighten. Great way to be on top of your life.
Now, these next 2 books you have to buy. Not if you want to or feel like it. You MUST
They will guide you through your complete formation as a classical musician. But I am already a professional? Buy it! You will still learn so much from these guys. Everything from scales practice and stage fright all the way to careers in music and strategies to succeed. You have it all in these 2 books. You won’t regret it, I promise.
As a personal-development freak, I read many blogs and always try to remain efficient and productive. Most of the time I have a book or two (usually more) on the subject in my tablet. Among my favorites, here are 4 of them. Easy to read, lots of good stuff and advice you can’t get anywhere else.
TREASURES FOR LIFE!
I’m a little picky with fiction. I usually give the book about 50-100 pages and if I’m still bored, that’s it. Believe it or not, I have stopped many books half way because I’m bored. I recently finished these two and they got me hooked all the way to the end.
Girls, read The Tombs if you are not into action-videogames-guns-manly adventures .
Guys, Hitman is AWESOME! get it right away.
What I Look Forward To
The first part of Hitman was incredible, and the second part just released only a few days ago. Oh, I’m getting it. The Secret of Success have great reviews and I’ve heard a lot about it lately. Tim Ferriss and Chris Guillebeau are two of the people who I really admire. Reading their stuff makes me want to give the extra mile in search of expanding the possibilities and enjoying every moment while doing it. I’m sure that The 4 hour Body and the Art of Non-Conformity will definitely enlighten my path.
A Survival Guide for Classical Musicians
I can’t finish this post without recommending my own work, ooopsss! A Survival guide for Classical Musicians is the companion guide to my blog. Over the years I’ve been studying personal-growth and how to apply it in the practice room. How to grow as a person in order to become a better musician is kind of my slogan. If you get the guide (only $7) you’ll get a free report on Travel Hacking. And you will be supporting the website, the community and the stability of the content being produced. Your support will ensure the future of this blog.
Thanks again for your sponsorship!
Written on November 9, 2012
in Auditions, Discipline, Musician's Life, Personal Development
In order to level up your complete persona, you must try everything.
That’s right! You have to try it all.
But it looks gross!! It doesn’t matter, eat it. You might be missing the best flavor your tongue could ever experience.
Musicians don’t always take this approach. I mean, we are artists. We are supposed to be the craziest living beings on earth. Look at modern art and you’ll understand what I mean.
Besides, in what other profession you get to be the slave of a piece of wood or brass or otherwise lose your tone, pitch and complete feeling of the instrument?
We lock ourselves in the practice room so that we could play from decent to really good performances. And that is awesome, the work really pays off. But there are other ways to keep experiencing life and put it in context with your music career.
For example, when I travel and get to witness fascinating place, I can somehow communicate those feelings through my instrument later on. What I have experienced in the past helps me understand those emotions—then I just have to find a way to communicate them. That’s where my violin comes in.
You have to go out there! Live! Experience stuff, do crazy stuff.
Set yourself free.
Do the things you are more scared of! Prove that you have the courage to face what gives you Goosebumps. It’s all part of the learning experience. You go through things in life so that you can be prepared the next time it happens or so that when something bigger arrives, you can deal with it.
Try risking more, more often. You’d be surprised of the consequences. They will not be as bad as you originally thought.
One day at the Time
It is the number one rule to be an efficient and productive person (my opinion). You may have these million projects on your mind but they won’t come alive if you don’t take the first step.
Baby steps are essential. Organize your “to do” list and set a deadline.
Persistence and Perseverance will get you there. Work only a few things every day, know what comes for the future but don’t worry about it.
Take a few tasks and tackle them. Feel the joy of accomplishment. Then do the same the next day. Before you know it, you’ll get to the end.
The 21 days to change a habit
As a musician/person, we’ve built many bad habits over time. It’s important to identify them and correct them applying the right techniques.
According to the people who like to do research, changing a habit is as easy as spending 21 days doing the opposite. Painful, not cool and sometimes horrible—but it is a proven method. You could start by going to the gym every day for 20 minutes. Or by drinking 3 full glasses of water every day (additionally to those you would normally drink).
To be a complete person/musician you have to take small bites in a strict manner. You can’t miss a day for at least 21 days. There is a quote that I really like; When you want really want it, you are already half way in.
Last advice; travel, risk more than you usually do, persevere, take one thing at the time and wait 21 days to get used to new things. All of this will grow you into a greater person/musician.
Written on November 6, 2012
in Musician's Life, Personal Development, Symphony Orchestra
When was the last time you listened to classical music?
Was it yesterday? perhaps 3 months ago?
I personally don’t listen to much classical music because I focus all my energies into practicing.
It is a fact, after a 6 hour practice session I don’t feel like listening to music at all!
I could not be more WRONG! That was me! and it’s still me sometimes I had a professor during my undergrad who always mentioned the possibility of musicians not liking music. He said that somehow, we musicians don’t enjoy listening to music anymore.
Not everybody, but a good majority! What happened to us? Where did we lost it? Is it true that we musicians don’t like to spend time listening to good music?
I mean, common! That’s what we do! It’s how we make a living–or at least how we intent to make it happen. I consider myself completely guilty on this one. I know it’s important but still, I don’t compromise enough to actually do it. I think if we get to know the many benefits we get from listening to music, perhaps we could organize our study sessions including more listening.
These are some of the things that come to mind:
1) You will learn style.
2) You will learn the composer.
3) You will learn traditional performing standards.
4) You will learn about tempos, colors, atmospheres.
5) You will learn what your part sounds like when the others are playing.
6) You will learn orchestration (if studied with score).
7) You will learn the best orchestras in the world.
8) You will learn other parts.
9) You will learn new music
Today, we have more than enough resources to listen to classical music for free. On YouTube you find everything. As a good resource I will recommend www.naxosmusiclibrary.com. Investing in a streaming site like this one will pay off in the long run. It is a good idea, also, to build up your personal library with scores and Cd’s, but I know there is a lot of money involved there. On the meantime, if you can’t afford that you can stick with YouTube and perhaps Naxos music library.
Get your free scores here www.imslp.org. I’m sure you knew this site
I invite you to join me and take the challenge of listening those works you are working on and other stuff by the same composer. Taking aside 15 to 20 minutes daily will do.
As we analyze the character and what actually makes the composer unique, we will level up an understanding of the music we play. I believe, that will put us at the top of our field.
In general, when you are informed and know what’s going on around your world, you are on the right track to know your competition, your business and what holds you back. You will be better prepared to deal with it. When you get to know who the next little virtuoso is and who won which competition, you maintain a good preparation and set some standards.
Knowing what is going on is part of your business. Don’t forget. This stuff we don’t learn in the practice room but it’s what completes us. The more you know the better– it’s a thumb rule for all fields. In an industry where contacts play a big role, knowing as much as possible is essential to manage a successful career. We can start simply by listening to recordings and knowing most of the recordings of the pieces we are working on.
Be involved! Subscribe to music magazines, blogs like this one and streaming sites! They can only add to your career development. What other thing would you add to the list of benefits?
Feel free to comment
Written on October 27, 2012
in Discipline, How To, Musician's Life, Personal Development
Music. Life. Humans. It’s what we are. What we do. We start every day exactly where we left it the day before. It’s a continuous cycle that builds a “new you” over time. But life is more than growing and becoming a professional. I would say life is mostly about being Happy. But also about some mystical behaviors that enhance who we really are.
Sadly, we often forget about these holdings. Most of the time, life goes by without any appreciation for the things we have. An average day can be forgotten easily. When we are bored we find something to do to get rid of our valuable time.
At the end of the day, you look back and the time was just gone. We could spend a few years “living” and the same thing may happen. You look back and Zap! Time is gone. And then I think… Is that what I live for? am I entirely happy by having this kind of life?
Should I be taking 100% advantage of the time? Maybe trying to become a productivity buff? Is it OK to play video games an entire day (once a week) and forget about practicing? What’s right and what’s wrong? What’s healthy? According to who?
What’s cool about life is that as you age, you get wiser. You’ve lived enough to tell what’s worth spending your time in. But for now, you must learn as you go. Try different things no matter what.
What old people usually say is that failure can be considered your best friend, for it teaches you some valuable lessons. On the other hand it can be your mortal enemy because it makes you feel like crap.
For me, happiness it’s a vicious process in which you feel that life stops for a certain amount of time until you prepare for the next scene. You maintain happiness as long as there is no happiness anymore. Then you have to ask the inevitable…
What happened to happiness? How do I get it back?
Imagine a person standing and looking themselves from the shoes up. You have a whole body, you are the owner. You can do with it whatever you feel like. You can be fit or eat unhealthy—you can be awesome or be dull.
It is actually your responsibility to protect your assets. As you gain conscience, you will feel that happiness can be attained in matter of seconds. The cool thing is, that it can also stay as long as you want it to stay.
One thing we usually associated with happiness is our own professional goals.
Example; If you are a grand soloist, you are definitely happy!!. Why?
Because you have a very exposed career? Because you go on tours?
What if I am a music teacher and change the lives of thousands of kids? am I successful? Should I feel happy then? Again, according to who?
You determine what success means.
… then you can create your own interpretation of happiness.
Know that you were selected among thousands of organisms to be a human being—the highest class of living organisms (you could’ve been a giraffe ). But instead, you were chosen (in our case) to make an impact with your music.
When you work toward changing people’s lives, you will be happy.
(whether you are a soloist or not)
But is not going to be easy. You will have to Persevere.
Yeah, I know you’ve read that word before on many of my blog posts. But it’s actually how you can keep the joy of being who you are.
As you persevere, you will have several encounters with your own persona. Those will be inevitable, sooner or later, you will realize that every single thing that makes you unique, counts.
Uniqueness works on your favor to help you stand out among the crowd.
Organization is also essential to define what you want to accomplish—what in the end will keep happiness around you.
It’s OK not to have an answer for everything right at this moment, the important thing is that you persevere and organize your life so that you remain in certain paths that lead to your main goal.
Stay on Earth.
Be grateful for what you have. Health, friends, family, etc. They complete the human being inside you—not the 8 hours a day in the practice room. Is the people around you who define the real you. When you go out, notice what’s around. Be grateful you have eyes to appreciate. Be grateful for as many things as you can—that satisfaction sends you through the right paths I talked earlier. That feeling, will help battle those “learning moments” so that you stick to your plan and avoid pitfalls.
Believe in learning. Believe in appreciation. Be aware of how small you are as an individual but also, how big and privileged you are to be alive and breathing.
You will make a difference in this world. Your music will change the life of thousands of people that you may not even know.
Reflect on that.
You are home practicing scales, stressed and overwhelmed by music but think of the final result—is a huge miracle. A miracle so big that you may not understand it completely.
The joy of being who you are should remain within yourself for the rest of your days. The spark that turns on when you are happy about something, can make a difference in other people’s lives. If we find a way to keep it alive by applying basic techniques of self-development, perhaps we could build a small army of self-disciplined people that influences a bigger mass by showing off the final result.
When you and me understand what make us who we are, the actual purpose of our existence, many elements unify. The universe itself will turn positive vibes in favor of our ideas. We will find success as a crowd and not as an individual. We’ll be able to strengthen the laces of human kind. Only by having this kind of behavior, may we prove, that this fictional world I just created could one day be a reality.
Written on October 19, 2012
in Auditions, Composers, Discipline, How To, Symphony Orchestra
Let`s face it—practicing scales isn`t much fun. Most pianists see scales, along with arpeggios, as a necessary evil on the road to musical dexterity. On the flip side of the coin, those boring exercises are crucial if you want to be a good pianist or instrumentalist.
Whether you`re a singer, saxophonist, guitarist or keyboard player, technique is vital to your craft. You`ll be glad of those hours of practicing scales and arpeggios when you`re playing hard stuff.
Likewise, if you decide to become a pop or jazz performer, you`ll still need the manual dexterity you acquire by leaning your scales.
There`s no way to avoid them if you want to play really well.
There are, however, things you can do to make practicing scales more entertaining. Here are a few tips to make your scale practicing more endurable and even enjoyable:
- Find some imaginative scale studies to work on. You don`t have to do the same scale exercises day in, day out. There are plenty of creative books on the market today that are geared toward making scale practicing more interesting. Visit a music store or go online and find some new exercise books.
- Make it more exciting by taking your scales all the way up and down. You`ll be panting for breath after the first couple of scales and you`ll feel as if you`ve run a marathon, but it`s good for your muscle memory and adds some excitement to your practicing.
* Set some imaginative and creative goals. Try to play a scale perfectly 10 times in a row, or try to play the scale 20 times in three minutes without making a mistake.
- Practice hands separately and then together (pianists), as this creates a little variety. You can also practice your scales in syncopated rhythms, accenting certain notes. This not only adds interest, but it also helps you build your muscle memory.
- Remind yourself how much the scale practicing is going to help you in some of the repertoire pieces you`re working on. For example, if you`re working on a Bach Prelude and Fugue, you can easily see how much your performance is going to benefit from some intensive scale practicing.
- It’s important to find some books that will make scale practicing a more enjoyable activity, instead of the tedious, boring chore that it can be. With the right choice of exercises and a little imagination on your part, you`ll be amazed how quickly the minutes will fly by as you practice your scales. You`ll also be amazed at the improvement in your playing when you`re working on your repertoire.
Just remember, technique is vitally important, but it`s a means to an end and this end result is the skill with which you play your musical repertoire.
Written on October 16, 2012
in Auditions, Composers, How To, Musician's Life, Symphony Orchestra
As a classically trained musician, you know that the most important thing you can do is work on and solidify your technique. No matter how talented or expressive you are in your musical skills, it`s technique that gets you through.
Without having a strong technique to support you, you`re not treading a path to success; you`re treading quick sand. On the flip side, however, some musicians rely so heavily on technique that they`re virtually swamped by it. They`re so wrapped up in practicing scales, arpeggios and other exercises that they neglect to work on their repertoire.
When this happens, it`s important to prioritize how much of your practice time should go to technical warm-ups and exercises and how much should go toward practicing your musical pieces. It`s important first to remember what technique is for. You use these strengthening skills to fine-tune and hone your skills as a musician.
Once you`ve got a firm grip on your technique, you can put it firmly in its place as a background to your performance.
If you`re a singer, particularly an opera or concert singer, you have to be especially careful about not over-practicing. Many experienced professional singers are content with 20 minutes a day of warm-up scales and arpeggios before jumping right into repertoire.
If you practice your vocalizes and exercises too long, you`ll tire out your voice. As to how much you should practice your technique during a single session, here are some thoughts to consider:
- Mindless practicing is a waste of time.Most musicians agree that endlessly playing scales and arpeggios by rote over and over again without thinking isn`t a particularly valuable way to spend your practice time. If your head space isn`t in what you`re doing, your muscle memory won`t develop and muscle memory is the backbone of technique.
- Mindless practicing causes sloppinessand soon you`ll find yourself falling into bad habits that will make your practicing destructive rather than beneficial. Neglecting your repertoire leads to a lack of confidence. After all, you`re going to be performing your pieces, not your scales, in front of an audience.
If you concentrate on technique at the expense of your repertoire, your repertoire will surely suffer.
If you have extra practice time, devote it to your musical repertoire, not to your technical exercises, especially if you`re preparing for a performance. Set aside a time for scales, arpeggios and technical exercises and don`t go beyond it. Unless there`s something you specifically want to work on, such as a helpful exercise, keep your technical practicing in its place. It`s valuable, but you don`t want to practice scales at the expense of your repertoire.
Just remember, technique is vitally important, but it`s a means to an end and this end result is the skill with which you play your musical repertoire.
Written on October 11, 2012
in Auditions, Discipline, How To, Musician's Life, Personal Development, Symphony Orchestra
I am still a young musician. Unlike my professors and people who have been playing for many, many years, I am still learning.
In fact, that’s one of the reasons I started this blog, to share what I’ve recently learned and hopefully help other musicians find a higher level of musical understanding easier and faster.
Lately, I have been trying to practice a good amount of hours, and as usual, trying to do so as smart as I can.
It’s good to remind ourselves what’s really effective, what really works. After many weeks or even moths of practicing, one can stop thinking. You get used to a routine and stop looking beyond your own boundaries.
Yeah, yeah, I know you’ve heard it before. But you haven’t heard my approach yet.
Every musician take notice of it in master-classes, seminars, YouTube, lessons, etc.
Now, what does it take to practice slowly in an extremely productive way?
You practice slow and then it’s perfect?
Do they mean slow scales?
Here’s what I think. I’ve done a series of experiments and this is what I believe slow practice is about:
1) Music must be built up the same way you build up your muscles.
You work different parts, all separately.
- a) Intonation
- b) Phrasing
- c) Dynamics
- d) Bowings
After working in detail each of these technical issues, you can then put them together one by one.
- a) Legato + Intonation
- b) Intonation + Articulation
- c) Intonation + Legato + Articulation
And so on…
This will take a long while. I’m talking about weeks if not months, depending on the difficulty of the piece. Be patient, you’ll get there the smart way. Have You Practiced 10,000 Hours Yet?
You need a strong base to support a heavy piece of music with hundreds of details. You can then get deeper into the music and work aspects like musicality.
2) Slow practice needs time. Your brain is an awesome machine. Make sure you learn how to operate it.
You need time in order to cook your food and get the maximum out of it.
- a) Select hard passages.Slowly analyzing.Watch how your fingers move and how you get to the new note.
Your fingers learned how to get to “B” from “A”. But they haven’t learned how to get to “B” from “C”. (Yep, it’s that hard)
- b) Practice your excerpt really slow focusing onas many details as you can. After 15- 20 minutesleave it. You brain, muscles and mind get tired, it’s hard to focus longer that.
Like I said, the brain is an amazing machine. Next time you come back you will notice a difference. Your brain it’s still working on it even though you are not physically involved.
3) Control your instrument with your mind. You don’t have to be a psychic though. Instrumental playing is really delicate. You can change something by moving your pinky slightly forward (string players) or by relaxing your right shoulder.
- a) Sometimes it only takes tobe aware of the problem. If youthink what you need to do (yes, only by thinking) you will perform it as well. Not always, but when the “fixing” is small.
Through slow practice you figured that the fourth finger is a little too flat. Be aware of it and don’t try to play it higher, think about it, then perform it. Next time you play it, you’ll fix it immediately.
4) Be aware of your body. With slow practice you will have enough time to notice a variety of things including how your body behaves.
Are you tensing up 5 measures before that hard passage?
I bet you will notice if you practice slow.
- a)Feelyour shoulders, fingers, hands, forearms, mouth, cheeks and every other part of the body that could be involved in your playing.
- b) Replay the excerpts with a new mind set- relaxation.
If you understand your machine’s needs and give it what it needs, then it will repay you by giving you a strong base. You two must work together as a team (yes, I mean you and your brain). It is the only way to feel the owner of a piece of music.
Slow Practice Means More Time for the Brain to Think
When you study slowly you forget slowly.
– Itzhak Perlman
Written on October 2, 2012
in Discipline, Musician's Life, Personal Development
What is exactly is being productive? Does it mean staying focus for a period of time? Is it what I need to do in order to play at my best level?
Those were some of the questions I asked myself when I first approached the term productivity. I wanted a straight to the point guide. How can I prepare the Tchaikovsky concerto the fastest, easiest and most effective way?
Fear no more! I will explain productivity with stuff I’ve tried and what others have taught me.
Here we go!
If you subscribe to my colleague Dr. Noa Kageyama at his Bulletproofmusician blog, you will get a Practice Hacking Guide. This guide will get you on the right track.
It is evident that you need to be willing to work hard in order to change bad habits for good ones, but keep in mind that as a musician you’ve already build strong elements to do it. By spending many hours in the practice room you already considered a disciplined individual.
Now, the question is—how long should I practice?
Here are some good answers to that question! (You can come back after reading the whole post) J
How Many Hours I day Should I Practice (Must read)
Today I want to provide you with an effective productivity plan. Not just my opinion on how long you should practice but more like how to take 100% of your efforts home.
In order to take advantage of every second you destined to practice, you must have a plan.
- What do you want to accomplish?
- How are you going to do that?
- What strategies are you going to use?
- How long will it take?
Planning a practice session is like planning out your life. You give direction and try to reach those goals while preparing other tasks. You can’t waste time—it’s limited.
Let’s say that you have 30 minutes to practice.
How would you get the most out of it?
How do you take 100% of your efforts home?
With 30 minutes you can easily take a big excerpt of music and work many things. Hopefully you picked a hard passage. Pick some technical as well as some musical problems.
5 minutes| tuning each note. Slowly watching your fingers from note to note
5 minutes| figuring how you would phrase that passage
5 minutes| actually playing the phrase with dynamics, etc.
5 minutes| repeating hard fingerings, bowings,etc. Cleaning everything up.
10 minutes| using the metronome and trying to get it up to tempo.
30 minutes will change the life of those measures forever. You were completely focus on those measures and actually worked things separately. You can even combine tasks by working on technical and musical problems at the same time.
I can personally focus for only 40-50 minutes at a time. After that, I am not really100% concentrated. I get distracted and start playing things without thinking much.
Many experts on the subject talk about 50 minutes practice and 10 resting (1 hour of work).
40 minutes – Warming up, technique, etudes, scales
10 minutes- Break
50 minutes- Concerto
30 minutes- Break
40 minutes- Mozart concerto
10 minutes- Break
50 minutes- Orchestral music
Total = 3hour practice with 50 minutes resting.
If I do it twice a day I will have practiced 6 hours and rested 1 hour and 40 minutes.
To practice 6 hours (the healthy way) I will need at least 8 hours available.
By doing the above, I give my body and muscles the essential time to rest. My mind will also pay me later by retaining more information.
Productivity = wanting to reach a certain level under a certain amount of time. (Read Increase Your Productivity by Shortening Your Day )
It’s been proven that when you work with a deadline, you do so more efficiently. You accomplish more in less time.
Finally, I would like you to read how this guy is productive.
Written on September 29, 2012
in Composers, Musician's Life, Symphony Orchestra, Violin
Believe it or not, your knowledge on music history and theory will be reflected in your playing. It will help your performance unconsciously by understanding and visualizing patterns, hidden harmonies, structures etc.
Not convinced yet?
Go on YouTube and watch any interview by one of your favorite soloists!They often talk (know) about the time period the piece was composed, its relation to the modern orchestra and general impressions the contemporary audience may have. They also know the score (orchestra parts) like they know their hands.
Not convinced yet?
Yeahhhhhh, I know you are! 🙂
Anyway, as performers we approach music from a totally different angle. If we were composers, for example, elements like orchestration, harmonies and colors are supposed to be the primary focus. For us it’s sometimes technique, technique, technique.
So what can we do to expand that horizon?
How can we performers take it to the next level?
I believe the right answer stands by studying and analyzing how composers think.
If we understand composers then we can understand their music.
For example, let’s say that the composer is writing for the orchestra. He/She thinks and studies that instrument as a whole. Balance, melody line, accompaniment, colors, textures, harmonies, dynamics, contrast, ranges-that’s what’s going on in their heads. But, on top of that they have to know at least the basics of each instrument and their capabilities to write successfully for them.
Our job as performers constitutes to play those dynamics. Our job as a section is to play those dynamics as a section. If we play (p) instead of (pp), when (pp) is marked, then it is another piece. That (pp) has been thought as a complementary part of what’s going on around the orchestra–assuming we are working with a professional composer.
He studied orchestration. You studied clarinet. Trust him/her. 🙂
12 Things the Composer Might be Thinking While You Play Your Part
1. Dynamics are not being played as strictly as I thought them.
2. The oboist is not aware that his/her line is being doubled by another instrument.
3. Cello section is rhythmically helping the melody line. Please notice that!
4. They are obviously playing the root of the chord. It feels like they don’t even notice.
5. First violins are now complementing the harmony.
6. First violins tend to play sharp in upper positions. Why? Focus on the harmony guys!
7. Seconds can play more. I don’t hear them. They are really important.
8. Violas, forget the viola jokes you guys are essential in my music.
9. There is a xylophone in this piece. I don’t think the orchestra knows it.
10. That line is impossible to play, but is ok… I don’t care about the notes they are building a color.
11. I hope the musicians don’t notice I copied those measures from John Williams.
12. This composition was created to have an impact. Not so much about beautiful chords. I hope someone understands my purpose with the piece.