Tag: Classical Music blog
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
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.
You know them. You venerate them. They are the whole inspiration and possibly the reason why you play an instrument.
If you are a young musician, chances are that you have a favorite player, usually a famous soloist. On the other side, if you are a veteran, you know how the business works, the good and bad things of a solo career as well as the ups and downs of an orchestral career.
Either way, a world-class soloist is always a person we all admire. We look up to them whether we admit it or not. They have been there for you since the beginning. You know, that time where you picked up the instrument for the first time.
For some reason musicians and colleagues of mine, always try to find a bad habit or gossip or something to hurt the soloist’s reputation in any way.
Soloists equals high level of achievement in many forms—they must dominate not only the technical part but things like marketing, psychological behavior, people skills, concentration, perseverance, endurance, self improvement, etc.
That exactly is what we all look for—a total immersion of our person/musician that develops into a complete professional. (This guide can help you achieve that)
We often associate success with traveling, big audiences, and strong presence among the classical music community.
But being a soloist is way more than we think it is…
It’s like being an astronaut. You go to space and work orbiting earth—or somewhere else. You are privilege enough to have the first words ever spoken on that surface and the whole world looks up—you are “in the spot”.
What we don’t realize is, perhaps, that astronauts have hundreds of people backing up their projects and helping the crew succeed from earth (the orchestra). They couldn’t have landed on the new world without that backup from earth.
Astronauts are the most visible members of the whole operation but not the only ones—and because of that, their failures are more exposed to the world. They become more vulnerable.
Yeah, you may be famous and perhaps able to send greetings to your family from a new world, but if an oxygen hose breaks up there by accident, who is going to be in trouble?
Not me, I’m safely on earth telling you what to do from an air conditioned office.
Same thing happens with soloists—they have to go through many stages, all exposing great deal of delicate matter. Their lives are part of a beautiful journey that “maintaining a status” becomes the ingredient that separates them from everybody else.
If a renowned soloist play less than expected, social media will take care of the rest. You and me will find out and their reputation will change their status.
I believe soloists earn their position in this game.
That is why I admire Joshua Bell. The whole world talks crap about him and he knows it, nevertheless, he remains intact. He maintains a status and has a very unique way of selling his product—watch him playing 😉 and you’ll see.
(Read this blog post “Why I Think Joshua Bell is Successful”)
As if it wasn’t enough already, soloists have to deal with jetlag, cultures, languages and food. You can probably imagine what the term “family” means to them—a world-class soloist is on the road 85% of the year.
These are some of the disadvantages soloists confront. Of course I didn’t mention the advantages because we all know them.
Having a close look at these points can help us understand what soloists are made of—the unavoidable exposure that puts them on the “spotlight” and the small details that makes them human beings.
I’m no expert on the subject or even close but I’ve work with many of them and seen them in action. What I can tell is that whether they are on their best shape of their career or not, world-class soloists will always join us (spiritually)(death or alive) and inspired us to do better and keep growing as professional musicians.
Again, here is the link to the Survival Guide for Classical Musicians guide.
Do you know any world-class soloist? What have they told you? Any cool ideas you’d like to share?
If you’ve read Dr. Noa Kageyama’s articles at the Bulletproof Musician, you’ve heard about the use of sport psychology with classical musicians. Athletes and musicians go through many stages in which they must overcome a series of challenges in order to be considered among the top people.
We train every day—to be the best we can be. To perform at the highest level possible and to keep opening doors for the future.
BUT, to be as successful and legendary as, say, Michael Jordan or the equivalent in the classical music world, we’ll need to work as hard as him.
He didn’t fly from the free-throw line to the basket from one day to another. It took years of goal settings and purpose. When he was in high school, the school team didn’t take him because he was not good enough. Michael worked his career from the bottom up—and we can certainly do that as well.
As you’ve probably figured, he was one of my childhood heroes and today I want to translate some of his quotes into classical musician’s language.
I’ve failed over and over again in my life and that is why I succeed.
Uffff, this one is my favorite of all. He said in an interview: “I’ve been trusted with the last shot over 100 times and missed, I’ve lost more than 900 games, missed a million shots. All that, contributed to what I have achieved to this day”.
You will lose auditions, play horrible, have bad days, bad experiences, etc. It is not what you do when everything is beautiful, it is what you do when things get hard. Those moments will teach you like nothing else. If you persist, you will win an audition eventually. If you play out of tune and keep working on it, you will play in tune some day.
The key is to keep working and find your way around your problem. Know it exists, and work consistently on it.
The only thing I knew was that I didn’t want to be average
You know, I am such a big fan of Jordan that even though I’ve read all these quotes already I still get goose bumps every time I go over them again. The amount of energy I get when reading this quotes it’s incredible. I feel like I don’t want to be average myself either, I want to practice 8 hours a day until a reach my dream. I want to be as good violinist as he was a basketball player.
That quote is very well related to the next one…
I was the first one there and the last one to leave
No doubt about it!
In one of those million documentaries I’ve seen of him, he said that when he left basketball and started professional baseball, he was up really early and trained 4-5 hours more than the other players.
Of course, he was not professional but his reputation as a basketball player got him into the baseball team. He wanted to get better more than anything in the world and that was the right attitude at the right moment. When is the right moment? Always.
Although he never really became a star as a baseball player, his skills improved immensely over time. He was born to be a basketball player the same way you were born to play that clarinet. 😉
I’ve known many musicians who started playing the piano but ended up playing something else and became professionals in that other instrument.
These quotes are all connected in one way, find inspiration and passion for what you do, work with a future in mind and you will rise.
Write me back!! Do you have any favorite quotes that inspires you as a musician? Do you believe sport psychology can help us? What else can give us musicians energy to keep dreaming and working toward personal goals?