Articles on topic: practice techniques (13 found)

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David Erato on his clarinet “journey”

David Erato, a Wisconsin-based woodwind doubler and teacher, describes the motivation behind his year-long “journey” to improve his clarinet chops:

The idea as a “doubler” is to make whatever instrument is in your hand not feel like a foreign object. One should really study the instrument as if it is the only instrument you play. Practice the same method books, etudes, solos, as a clarinetist in a symphony once did.

David devised a plan to work his way through a book of technical etudes, and carried it out. His plan was based on the a similar system he had used as a university saxophone student. The result?

I can say after all of that, I really do feel like I’ve taken my technique game up several notches on clarinet.  It may be hard to believe, but about half way through the book I felt more connected to the instrument.  Even though I was in more difficult keys, larger interval jumps became easier than when I started.  By the end of it, I didn’t have to think much about playing 4ths in the key of D# harmonic minor.

It’s worth reading the whole thing. There’s one key point from David’s story that I’ve discussed here before, but which is worth restating: as a woodwind doubler, you have to be a beginner on each instrument. David had already completed a technique-building regimen on the saxophone, prescribed by a good saxophone teacher, but hadn’t done so yet on the clarinet. Many of us make the mistake of thinking that such things transfer automatically. They don’t!

I know that many of my readers are college students and/or educators, and may have some discretionary time coming up when the spring semester ends. What fundamental techniques can you spend the summer shoring up?

Seven habits of highly effective beginners

Photo, Michael @ NW Lens

A few weeks ago I wrote about seven habits I’ve observed in my most successful university music students. The popularity of that article has been gratifying—to my surprise, it even briefly displaced my list of woodwind doublings from Broadway shows as the most popular thing on this site.

What I wrote was about university music students—students who, generally, have at least a half-dozen years of playing experience behind them, and who are planning to  pursue a career in music. But I think it’s also worth considering the musical beginner (child or adult). Students who get a good start with their instrument have a better chance at success, no matter their goals.

Here are some habits that are characteristic of successful beginners, plus a bonus tip for woodwind doublers:

  1. Get a teacher. This is the best money you can spend or your (or your child’s) new musical pursuits. And the sooner the better—don’t assume that you need to struggle on your own for a while before a teacher will take you on as a student. A good teacher can guide you through purchasing or renting your instrument, teach you good playing and practicing habits, troubleshoot problems, and model excellent playing. And you may be able to get good instruction cheaper than you think. Contact a teacher of reputation in your area and find out what they charge, and, if it’s more than you can spend, ask if they can recommend one of their top students as a beginning teacher. I’m a university music professor, and I charge more than some beginners would be willing or able to pay, but I’m pleased to recommend my advanced students who are anxious for some teaching experience, who work cheap, and who will teach you the same things I’m teaching them.
  2. Get good advice on equipment purchases. See habit #1 for the best solution to this. Be extremely wary of advice from mail-order catalogs, internet message boards, eBay sellers, and commissioned music store salespeople who don’t play your instrument. My beginning woodwind students who start with inferior or poorly-adjusted gear often develop poor playing habits in an attempt to compensate for the instrument’s/mouthpiece’s/reeds’ shortcomings, and are far more likely to get frustrated and quit. You don’t need a fancy car to learn how to drive, but you do need working brakes, steering, and signal lights. Read more →

Seven habits of highly effective music students

Photo, greek0529

Here are seven habits (apologies to Stephen Covey) I’ve observed so far in my most effective university music students—those that are making consistent improvement, performing successfully, and progressing toward graduation and career.

  1. Hit the practice rooms early. My best students don’t wait until the final hours of the day to get their practicing done. Practicing earlier on establishes in the student’s mind (and mine) that practicing is a priority. It also makes practice sessions more focused and less fatigue-prone, and encourages healthier sleep habits. (I do usually have the university’s music building to myself when I get to the office to practice at 7:00 am, but most weekdays a few student go-getters are warming up in the practice rooms by 8.)
  2. Use a pencil. A lot. I know it’s going to be a successful lesson when a student opens their etude book or repertoire piece and it’s covered with pencil marks. It shows me that students are getting to know their music in a meaningful, in-depth way, and that they are thinking through technical and interpretive issues. The students who keep their sheet music in perfect mint condition? Not so much. Read more →

“Dilbert” creator Scott Adams on practicing

Dilbert.com

Woodwind practicing also improves your spittle production.

Dilbert cartoonist Scott Adams gave his interesting take on practicing today on his blog.

I’ve spent a ridiculous number of hours playing pool, mostly as a kid. I’m not proud of that fact. Almost any other activity would have been more useful. As a result of my wasted youth, years later I can beat 99% of the public at eight-ball. But I can’t enjoy that sort of so-called victory. It doesn’t feel like “winning” anything.

It feels as meaningful as if my opponent and I had kept logs of the hours we each had spent playing pool over our lifetimes and simply compared. It feels redundant to play the actual games.

I see the same thing with tennis, golf, music, and just about any other skill…

Read the whole thing here.

While there certainly are other factors that can affect a musician’s success, I do tend to think that a primary predictor of a musician’s ability level is the number of hours logged in quality, focused practice. With a challenging solo recital on the schedule for tomorrow night, there is a certain kind of appeal to the notion of walking on stage, displaying a log of the hours I’ve put in, taking a bow, and making my exit. But instead I’ll hope that the time I’ve put in practicing will make “victory” a sure thing.

Using autotune in your practice sessions

Autotune has been getting a lot of attention lately. Whether you use it in recording or in performance is between you and your sound guy, but I think it also has useful application in the practice room. Here’s how to use it to shed some light on your own intonation. (I’m using all free Windows software: Audacity and the GSnap plugin. You can also do it with Garage Band if you’re a Mac person.)

  1. Record yourself playing something you would like to get better in tune. Slow scales and arpeggios work great for general intonation practice, but you can also use a repertoire piece.

    Record yourself

  2. Make a duplicate copy of the track.

    Duplicate the track

  3. Dial up some fairly rigorous autotune settings. The simplest way to do this is to use equal temperament settings, but depending on your software and your practicing goals, you can also adapt this to other tuning systems. This is just for practice, so don’t worry about making things sound unnatural. Go a little T-Pain on it.

    Autotune settings

  4. Apply autotune to one of the tracks.

    Autotune one track

  5. Play both tracks back together. The notes that make you wince the most are the ones that are most out of tune. Are there certain notes, registers, or dynamic levels that are consistently a problem?

  6. Try muting the original track and playing along with the tuned one.

I like this method because it’s aural rather than visual (unlike using a chromatic tuner) and because it’s very results-focused. Try it over a few days or weeks and see how quickly you correct the pitch issues in your playing.

Doubling reminders for the day

Non-doublers often seem to think that the most amazing thing about doubling is keeping all the fingerings straight. I don’t find that to be a major problem; the keywork of each instrument feels different enough in my hands that I think I tend to switch into the right fingering mode automatically.

It’s the other stuff that’s a problem. I find I often need to give myself a few reminders as I’m setting down one instrument and picking up the next. Here’s the stuff that has been going through my mind lately—maybe one or more of these will click for you, too. Read more →

Just like tying my shoes

I like to use shoe tying in my teaching, as an example of what regular practicing—even just a few minutes every day—can and should accomplish.

Playing a woodwind instrument involves a number of complex physical actions: coordinated finger movements, a delicately balanced embouchure, well-timed breathing, and more. And musicians mostly need to execute these physical elements without a lot of thought, so that they can mentally focus on things like expression and communication. The way to do this is to practice the physical stuff regularly and consistently, so that it happens automatically.

Like most people, I think, as a small child I found shoe tying to be a complicated proposition. It’s a sophisticated task for little fingers. But once I got the technique worked out, I just did it every day, day in and day out, until I didn’t need to think about it anymore.

Or so I thought.

Imagine my dismay when I discovered, just this morning, that I have been doing it wrong all my life. Read more →

Recommended: Jeanjean “Vade-Mecum” du Clarinettiste

Lately I’ve been doing some clarinet work out of the Jeanjean Vade-Mecum. The title page translates charmingly to:

“Vade-Mecum” of the Clarinet-player

6 SPECIAL STUDIES

to

render the fingers and tongue rapidly supple

But this is what really sold me:

NOTICE

The aim of these 6 standard-studies (combining the essential parts generally contained in several exercise books) is to prepare instrumentalists in a very short space of time (about 1/2 hour) when, due to their occupations, they are not able to devote the time necessary for developed exercises and must nevertheless be ready to execute difficult passages, from the standpoint of lips, tongue and fingers.

The movements to which these Studies oblige the clarinet-player to submit will rapidly overcome those imperfections, the diminution or the passing weakness that might result from either fatigue or irregularity of technical work.

“…not able to devote the time necessary … and must nevertheless be ready to execute difficult passages…” This, in a nutshell, is the quandary of the woodwind doubler. Read more →

Learning to play a woodwind: is previous woodwind experience a disadvantage?

I teach a woodwind methods class as part of my graduate assistantship (and was the teaching assistant in the class for several years before teaching it on my own). In this class music education students get a crash course in playing and teaching the woodwind instruments, in preparation (too little!—but that’s another blog post) for careers as school band directors. My class is made up of woodwind players, brass players, percussionists, keyboardists, and even vocalists. It is interesting to see how to woodwind players fare in comparison to the non-woodwind players. Read more →