A classical musician plays an instrument solo or as part of an orchestra or musical ensemble. They can either record music or perform live to the audience. Working as a classical musician means being able to do what you love and earn a living doing it, it’s what most of us strive to do!
Working as a classical musician – the options
Playing in a small group or in an orchestra, or as a soloist – with the direction of a conductor.
Performing live from time to time after hours and hours of rehearsing – the performances per se take a small percentage of your time, as you’ll be mostly in the studio at recording sessions
Practicing often in order to keep up the skills and learn some new music – need to know how much practice you really need? Then check out this blog post
Tuning and looking after your instrument and equipment
Often playing with multiple groups or orchestras at a time in order to make your living
Taking part in outreach programmes that take music into a community or working on education
Going on tour, performing across the world or the country and getting help from your agent to find auditions and work.
How Much You’ll Be Paid Working As A Classical Musician?
Pay rates vary depending on many different factors:
Whether you’re working freelance as a classical musician or have a permanent position
What sort of organisation or company you’re working for
What orchestra or venue you’ll perform at (club, regional theater, London theater, TV, pub, recording studio etc.)
The Musicians’ Union has some agreements regarding freelance rates with organizations such as the BPI (the British Recorded Music Industry) and BBC. They cover live performances as well as recorded sessions – you can find more information on it at the Equity website.Working as a classical musician is all about being paid a fair, industry rate and this can and does differ from country to country so check your local details.
For instance, a salaried orchestra musician working with the BBC Scottish Symphony Orchestra could earn about £29,000 (circa $55000) per year, all the way to £40,500 (circa $75000) per year or more at principal level. You can get extra for overnight trips, concert tours, overtime, or if you play multiple instruments.
In other orchestras based in London, you should earn around £29,000 to £52,500 per year, around twice as much as you’d get working at a major American orchestra.
Freelance rates are a bit different – they vary a lot according to experience and skills. According to research findings from 2012 by the ISM (Incorporated Society of Music) the average fee for each engagement (a performance or rehearsal) is £90-150 for orchestra players and £100-250 for solo instrumentalists.
Recording artists, on the other hand, might earn a lot more. The few soloists who become big names get very, very high earnings.
The salary for full-time musicians working as classical musicians in the armed services will vary according to service. The RAF advertised musician pay in 2016 at £24,913 and benefits, after basic trainers.
Working Conditions For Classical Musicians
A working classical musician performs in many different places – from restaurants and hotels to churches, concert halls, theatres and opera houses.
If you’re part of a military band, you’ll need to commit to the armed services in return for a regular job and study bursaries.
You might need to go on tour abroad or in the UK and be away from your home for long periods from time to time.
You might need to work long and/or unsocial hours, including weekends and evenings.
A lot of musicians get employed on short-term contracts, taking on a few extra jobs in order to support themselves, like giving private tuition.
Getting Started Working and Earning As A Classical Musician
Usually, classical musicians begin learning at least one of the instruments they play when they’re very young. In order to become a professional classical musician, you need to reach high standards of performance in the instrument. The majority will have studied at a conservatoire (Music College) or at a university.
There are a few degree courses in music performance, music, and performing arts, too: The NC (National Certificate), as well as HNC and HND (Higher National Certificate and Diploma). Entry qualifications will vary according to the level of the course.
For most courses, there is an interview and audition, too.
Entry for a degree course is very competitive. Not only you’ll need the academic qualifications, you’ll need qualifications in music as well, most of the time. For a degree course in Scotland, you’ll probably need 3 to 4 Higher, preferably with music and Grade 7-8 on the main instrument you play from a body like the Associated Board of Royal Schools of Music
For certain courses, you’ll need to be able to play two instruments, which may include singing.
You’ll usually need to show that you have some amateur experience.
You may get involved with a community or youth orchestra.
What Do You Need?
Basically, you have to be:
Particularly talented in music
Confident in your skills to perform in front of the audience
Capable of sight-reading – that is, being able to read and then play a musical piece without needing to see it before
Determined to improve your performance and succeed
Capable of taking criticism
Disciplined and motivated, able to spend hours and hours practicing
Good at working with others
Able to adapt t different musical styles
Able to deal with financial and business matters if working freelance
Classical musicians will often continue with private classes throughout their entire careers in order to improve or maintain performance.
Getting Started With Your Classical Musician Career
Working as a classical musician is a very competitive career, so you can expect little job security.
You’ll need dedication, talent, and luck in order to be successful.
For musicians that are on the permanent staff of the orchestra, there’s a promotion structure that’s very competitive. It begins at tutti – the rank and file players – then principal, and section principal.
Some classical musicians conduct or compose music, too.
Some musicians will go on to train for other careers such as teaching or music therapy.
Just how much suffices? Is there something as way too much practice?
Is there an excellent or ideal variety of hours that one should practice?
What Do Entertainers Claim?
A few terrific musicians of the 20th century have actually shared their ideas on these inquiries. I remember having a meeting with Rubinstein years ago, in which he mentioned that no one needs to practice more than four hours a day, clarifying that if you required practicing more than four hours a day, then you possibly just weren’t doing it right.
Violinist Nathan Milstein claimed to have done this successfully. As soon as I asked his educator Leopold Auer just how many numerous hours a day he needs to be exercising, he responded that “Practice with your mind and also you will certainly do as much in one and a half hours.”
Heifetz had also expressed that he never ever counted on exercising excessively, in which extreme practice is” equally as poor as exercising insufficiently!” He mentioned that he exercised not more than three hours a day excluding Sundays.
From the examples above, it can be seen that this is not a negative concept– among my very own educators, Donald Weilerstein, recommended that I develop a 24-hour time period on a weekly basis where I was not permitted to use my instruments.
What Do Psychotherapists Claim?
Psychotherapists recommend the implementation of a “ten-year regulation” and “10,000-hour regulation” meaning least 10 years and/or 10,000 hours of purposeful practice is needed in order to attain a skilled degree of efficiency in using any type of music instrument– and this also applies to artists as well, one gets to become well-versed after twenty-five years of practice in order to achieve an exclusive worldwide degree.
Here are the things you should remember in the practice room:
Keep in mind that the actual trick right here is not the quantity of practice needed (as the precise number of hours is arguable) but the kind of practice needed to obtain a skilled degree of efficiency.
As the saying goes “Practice Makes Perfect”. If you want to be the best classical musician you have to be ready and willing to dedicate your time. A day in the life of a successful Classical Musician showcases how much time he/she spends in a practice room and what impact it brings to their lives.
After a couple of weeks of intense practice we musicians tend to run in automatic mode. We know what to do and when to do it—but that doesn’t mean we are getting the most out of our routine.
That’s when we have to bring back a little consciousness to renew our contract with music.
Here’s what you should consider during your practice sessions:
1. Feel comfortable with the temperature of your cubicle. You can only learn when you are comfy.
2. Have all your accessories in one place.
3. Breathe and slow down—you are about to start something religious.
4. Focus on focus. Leave everything behind, clear your mind and enter the PRACTICE mode.
5. Warm-up! 15 minutes at least. Take care of yourself so you can make the art you love so much for years to come.
6. Stretch before playing your first note.
7. Have your pencil ready to jot down your progress and make markings.
8. Once you are ready to STUDY, keep your “mental control”. Focus on what you are learning—not about the pizza you’ll eat afterwards.
9. Use a mirror as part of your practice. See how you look like and what can improve your tone/performance.
10. Posture is essential to improve sound—and other things.
11. Prepare a plan before your sessions and stick to it. Know what each minute of practice is dedicated to.
12. Follow your plan no matter what. Trust your preparation beforehand.
13. Build the music. Don’t practice everything at once. E.g. The first hour you learn notes, the second intonation, then rhythm then everything together. Then everything separate again and building it one at the time for a couple of weeks. It’s a long process but it’s the most efficient.
14. Spend time building your technique. When inspiration finally arrives you will have a viable way to express yourself. Get into those etudes!
15. Listen to a lot of music and hear the professionals’ interpretations. Learn from styles and composers.
16. When you practice slowly, you forget slowly. Mr. Perlman said that!
17. The metronome is discipline’s no.1 ally.
18. Repetitions will engrave things in your brain forever.
19. Know the structure of your piece. A little music theory never hurt anybody 🙂 .
20. Imagine the rest of the orchestra while you play your part. Keep them in mind while performing.
21. Phrasing a line is making music. Not phrasing is playing notes.
22. Make a good dynamic contrast—but don’t lose the sound in the (p) pianos.
23. Style is what characterizes the piece.
24. Rhythms HAVE to be accurate.
25. Play in tune. All you have to do is: LISTEN. Mr. Perlman said that as well.
26. Read a book or two about the history of the composer you are interpreting.
27. Get free scores at imslp.org or get them on Amazon.
28. Once you know the style of a piece, you’ll perform the right strokes.
29. Vibrato has to be controlled.
30. Articulate! Play clean.
31. Coordinate both hands.
32. Re-check posture. You’ve been working a lot and might’ve move into a more comfortable position. Adjust.
33. Your breathing has to support your playing.
34. Take a break when your mind is exhausted, don’t waste time.
35. Stay hydrated to maximize efficiency. Drink a lot of water.
36. Take vitamin C to stay healthy.
37. Don’t Facebook while on breaks – stay with the music in your head as long as possible.
38. Keep your mind focused on what you practiced. Keep practicing in your mind. Think and rethink rhythms, notes, etc.
39. It’s all about surviving, really. Effective practice takes a huge amount of concentration. Survive your 3 hours session and then you can rest.
40. After a couple of hours you will leave the focus-house and that will be fine.
41. Push your limits. Stay longer if you can.
42. Leave when you are not productive, not when you get tired.
43. Remember: Practice is the only thing that will get you there.
44. You want to be good; then you have to give it all.
45. Be constant. Do it every day.
46. Move drip by drip and SMILE. There is no finish line.
47. Believe in your dreams and do give up what you are not passionate about. Then, follow what you are passionate until you get there. Enjoy the ride, and don’t stop until you reach it.
48. Remove distractions while working. It helps concentration.
49. Live a calm life.
50. Love what you do.
Now you have something concrete in your hands (a list)—it’s time to take action.
It’s fun and entertaining to read lists like the above but only when you take action can you improve your persona.
Remember: smart practice is a combination of:
· Knowing what to do
· Sticking to it no matter what.
I hope these items serve as inspiration to work at your best level.
FOR THE EMPIRE,
What do a first violinist, second violinist, violist and a cellist need in order to play completely together?
(it’s not a light-bulb joke 🙂 )
The Answer: Get Uncomfortable
Counting calories is uncomfortable, so is practicing at 6 am. But what choice do we have? What about the results you are seeking?
Quartet rehearsal is not comfortable when the violist keeps rushing (we violinists never, ever, ever, ever rush, especially when playing 1st). Wouldn’t it be great if you all just play it incredible the first time?
But it isn’t that way.
So, how do we deal with being uncomfortable?
Fear no more! I’m here to lead the way! (Cheers, applause, mass noise, wooooooo). Thank you, thank you!
First of all, if you think about it, uncomfortable doesn’t mean you are in pain.
It means you are not within your comfort zone.
And that is also OK because when you jump out of your comfort zone, you explore new possibilities.
If my math is right, you’ll be exposed to a bizillion new things (good and bad) that you weren’t exposed before when you sat in your comfort zone. Exposure will leads to experiences and experiences will make you smarter. Isn’t that what everybody wants?
Is there any way at all I can make the uncomfortable
YOU CAN’T. But there are some tricks you can use to soften the process and still get incredible results.
How to be Ok with Uncomfortable
* Savor Every Moment – Put your first vegetable in your mouth and touch it lightly with your tongue. Now chew. It tastes bad but it’s not painful. Immerse yourself in the flavor, even if it gets uncomfortable, realize there is no pain. I bet you never tried this way before. Repeat the process various days and see if it gets better.
* Realize you are not alone – There are 7 billion people with the same problem. For them a couch is more comfy than flossing. Uncomfortable will always be uncomfortable, you can only learn how to soften the impact.
* Become the Hulk – Man up! Scream, awhhhahhhahahahhhh for a few seconds and just do it. Then freak out!
* Get a little uncomfortable – Start waking up at 10 am. The next day at 9:50 am, then 2 days later 9:40 am and so on, until you reach 7 am. Changes are gradual—otherwise you won’t succeed.
* Look for it – Find discomfort and get into it. Practice being uncomfortable and adjusting. Keep thinking about the results.
* Observe yourself – Develop the ability to see yourself running away from discomfort. Go back and say: “No, I’m learning to take discomfort” and then immerse again.
ARE YOU PART OF THE EMPIRE YET?
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.
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 toPersevere.
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.
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.
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.
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.
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 youpractice 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.
Want to be among the top 1% of classical music performers?
Then you have to be different.
First, you must behave like the musician you want to become. That way you will trick your mind to do the same things you already do but differently. It’s all a psychological game. You think it, you do it!
You can do it only if you really, really, want to.
(1 really is not enough—you need 2 reallys to be an “elite” performer)
Next, you’ll like to dedicate some time to master the following:
The Basics of your instrument.
Did you get it?
They are everything.
You think you know legato but you really don’t.
You can play for 50 years and you will still have to practice legato to maintain the same level.
Basics are for life and if you try to make them your best friend, they will accompany you and protect you from the evil (technical problems).
If you apply this, you will be among the top 5% of the performers out there. You hear them playing the big concertos—so what? If it’s not clean, in tune, rushed, why bother?
Basics are for life, don’t forget. Do it constantly for a couple of years and I will see you at the top of the mountain.
Becoming an Elite
You are not a complete “elite” performer until you reach the 1% of them—let’s get you there.
You have to go through all of this: Survive an Audition, Follow Your Dreams Like You Follow a Score, Live Through Music, Watch 3 Ted Talks for Classical Musicians, Tell a Story, Reach Some Goals in Music, Be a Good Orchestra Musician,Make a Living as a Classical Musician (or at least try), Practice Performance,Recover From a Bad Performance, Convince Your Mother that You Should Major in Music, Develop the Art of listening, Keep the Magic in Music After 10 Years of Playing,Grow as a Person in Order to Grow as a Musician, etc, etc, etc.
You have to experience a life in music, let the years go by and understand what you are getting into. If you survive those years then you are almost good to succeed.
A positive attitude/mindset is all you need to make it happen.
As you probably know, music is hard as hell! Achieving your goals in music will require love for what you do—always (for the rest of your time on earth).
You will fail and you will have to get up, just try to learn fast.
You will play horrible; it’s ok, for you can play better another day.
You will… a million more other things, but you will overcome them because you love it, remember?
What is elite after all?
Elite means a group of people that are considered to be the best in a particular society because of power, talent or wealth. Yeah, of course I Googled that.
For musicians I would reorder it like this: talent, power and wealth. Talent leads to power as it leads you to wealth. But you don’t care about that right? You just want to be an awesome performer? 😉
(If you want to make money that’s another post: How to Make Money and Find Gigs or Make Art and Money at The Same Time )
Being part of the elite is more than just practicing and performing.
It is a way of life that requires a lot of sacrifices with and extraordinary paycheck—not money though—but self-respect, gratitude and wisdom. A life so rewarding that money could not get even close the final product.
To sum it up, achieving something of this magnitude requires a lot of focus for many hours a day. Only those who persevere will win. If you are involved already for many years, you might as well give the extra mile to get those awesome results!
This post in a few words:
· Basics (daily)
· Experience a life in music(years, it takes time)
· Positive attitude/mindset—at all times
· Love for what you do
Get the DISCIPLINE ASAP, it is the # 1 enemy. Well, procrastination is really the enemy but you get the point.
If you’d like more advice on the subject I have combined personal development with musicianship in this guide. Check it out!
I wish you great success and good vibes toward your elite status.
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