10 ways to improve your musicianship with a computer

laptopIt seems like there’s very little I do these days without a computer. Here are some ways I have used a laptop to boost my practice sessions.

  1. Listen

    With hard drives large and cheap, there’s no reason not to have your music collection with you anywhere you can take your instrument and your laptop. Absorb the music of your old or new favorite artists, borrow or steal their best ideas, and find inspiration for your own creations. With iTunes (free), you can even use the Store feature to search for short previews of music you don’t own, and buy it inexpensively for instant gratification. Check out YouTube, too, for lots of free music (and then support the artists by buying a nice legal copy of the stuff you like).

  2. Record yourself

    A built-in microphone or an under-$10 add-on is enough to reveal perhaps more than you want to know about what you really sound like. To really get every painful detail, pay a little more for a quality mic. I have one of these, which works well for me because it’s a standalone recording device and can also be used as a computer microphone. Free (or bundled) software like Garage Band or Audacity gives you a quick and easy way to hear yourself, plus tons more features for power users.

    Also, try using a webcam and bundled software to get a look at things like your posture, technique, and facial expressions while playing.

  3. Make goals

    After you’ve listened to yourself recorded in digital clarity, you may have a few ideas of what needs improving. Fire up your word processor of choice, and make a list of what needs fixing and what you can do about it. Goals that don’t get documented don’t get done: “if you think it, ink it” (or, even better, type it). Make specific, measurable goals, and refer back to your list often.

  4. Track your progress

    Spreadsheets like Excel are perfect for keeping track of measurable goals. Use them to keep track of your speed at something, or how many measures or lines or pieces you have learned, or which days you practiced a certain skill. If you want to get really fancy, make a chart to show your rate of progress, or to reveal when you’ve hit a plateau and need to rethink your practice strategy.

  5. Play along

    Play along with favorite recordings to try out performance tempi, get a feel for accompaniment parts, and do an overall reality check. Or try various kinds of playalong software, like Band-in-a-Box or SmartMusic. Or, just have your favorite playalong products like Aebersold recordings or the Tuning CD right at your fingertips.

  6. Use notation or sequencing software

    Used in combination with a MIDI keyboard, notation software can be a quick and convenient way to transpose or arrange parts, or even to check out what complicated rhythms sound like. (With most software, you can do it without a MIDI keyboard, too, but it’s more work.)

    Or try creating your own playalong recordings. These can be as complicated as complete orchestral accompaniments in your favorite key and tempo, or as simple as long tones that you can play along with in unison to check your intonation. Or how about a custom click track with your preferred tempo changes?

  7. Use analysis tools

    Try the freeware Spectrogram for visualization of your sound. Only your ears can tell you if it sounds right, but a look at a spectrogram may tell you something interesting about the harmonic content or amplitude of one note compared to another. The simpler amplitude visualization provided by software like Audacity can also help you recognize when, for example, there are unwanted bumps in your phrases.

  8. Use online texts

    There’s a wealth of valuable information online on how to improve your playing. One of the best examples of this is the online archives of the Double Reed, the International Double Reed Society’s journal—decades’ worth of solid gold articles by the world’s best oboists and bassoonists. There’s sheet music to be found, too—see my recent post about the IMSLP.

  9. Communicate

    There are lots of excellent message boards and discussion forums devoted to playing musical instruments. The Clarinet Bulletin Board is an example of a discussion board that is well-established, frequented by genuine experts, and generally polite. One of the benefits/dangers of these fora is that anyone can contribute, so you’ll have to use your best judgment to sort the good ideas from the bad.

    Or, if you’re feeling bold, look up the website of one of your favorite players, and send him or her a polite email expressing your admiration and asking for a suggestion on something you’ve been trying to improve in your playing. They are busy people, so be patient and understanding if they don’t respond right away, or even if your email seems to have slipped through the cracks permanently.

  10. Control distractions

    Use your computer to enhance your practicing, but when games or favorite websites become a temptation, turn it off! If your willpower needs a boost, try the LeechBlock Firefox extension or the Mac program Self Control.

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    Not good

    I like to use a Socratic-ish method in my private lessons, and ask my students questions. It means that I have this conversation several times per day:

    [Student plays.]

    Me: How did that sound to you?

    Student: Not good.

    Me: What didn’t you like about it?

    Student: It didn’t sound good.

    Me: What aspect of it didn’t sound good to you? The tone? the pitch? the phrasing? the articulation?

    Student: Um, I guess the articulation?

    Me: What didn’t you like about the articulation?

    Student: It wasn’t good?

    It’s an ongoing battle to get my students to listen more deeply than that. Was the articulation “not good” because it started with air noise instead of tone? Because it was accompanied by an unwanted percussive sound? Was the articulation technique perfect but you failed to follow the composer’s markings? Or was it something else?

    Photo, David Bailey
    Photo, David Bailey

    Often the “not good” is a combination of factors, but if my students can identify even one of them, then they can immediately start working in a focused way to improve it. If it’s just “not good,” then they tend to just play it again from the beginning without any clear approach to making it sound better, and repeat until frustrated.

    Part of my job is to help them identify and verbalize the desirable and undesirable phenomena in their playing, and to teach them the techniques for manipulating the variables involved (breath support, voicing, embouchure, finger technique, and tongue technique, to name the most obvious ones). But it’s up to them to take that information and run with it. For my students to become independently-functional musicians, they need to learn to listen critically to themselves and troubleshoot.

    For yourself and for your students, don’t be satisfied with bland value judgments (it sounded “good” or “bad”). Be factual and descriptive about what you hear, and tackle problems in a methodical way. Practice smart!

  • Memorizing scales

    As I’ve mentioned before, my university students are subject to a scale proficiency exam. Most arrive at the university “knowing” at least some major scales, but most of them will also have to learn at least a few new ones and maybe put some old ones into a new format.  For their exam, the scales need to be memorized well enough to play three randomly-selected major ones, and three randomly-selected melodic minors.

    For some students, there are technical barriers to this:  untrained fingers, insufficient familiarity with alternate fingerings, or tone production issues in extreme ranges. Some also struggle with nerves or other psychological baggage (“I’ve never been good at scales, Dr. P.,”). Even among students who are moving rapidly through advanced repertoire, and have all the necessary facility to play the scales, there are some that find the memorization to be very difficult.

    metronome
    Photo, CZMJ

    Here are some of the issues that my students have: Read More “Memorizing scales”

  • What I learned about practicing from my summer fitness class

    Photo, brendan-c

    Exercise has always been a challenge motivation-wise for me, but now that being over 30 appears to be a chronic condition, it’s something that I’m trying to do better about. I find it easier to motivate myself to practice my instruments, but I see connections between my exercise aversion and some of my students’ practice lethargy:

    • Unclear or undetermined direction and goals
    • Poor planning of exercise/practice sessions
    • Sessions are boring
    • Unfamiliarity with proper training/practicing techniques, or a mistaken self-evaluation of how well they are being executed

    I’ve previously attempted jogging routines, trips to the campus gym’s weight room, calisthenics programs, and various other workouts. All have fizzled out fairly quickly. Recently I had settled into a daily walk, which was easy and pleasant but wasn’t improving my fitness in any noticeable way.

    I decided this year to take advantage of a summer fitness class being offered for free on campus. It was my first time committing to doing anything like that, but the price was right and the time commitment seemed do-able.

    To my surprise, things went much better than in any of my previous attempts at regular exercise (after the first week’s exhaustion and soreness ebbed a little), and I found that a number of things that worked well for me in practice sessions were also clicking in my new fitness program:

    • Accountability is a big motivator. I knew the fitness instructor and my classmates would be expecting me every day, and that was enough to get me out of bed and into the gym for a full hour. Likewise, I need accountability in my practicing. For years I had teachers’ expectations to meet, but now I am accountable to myself. One thing that has worked well for me this summer is regularly-scheduled informal recording sessions, where I listen back to my playing, evaluate the results of my efforts, and write down some comments for myself.
    • Progress doesn’t always look like what you want it to. After my summer workouts, I still don’t have six-pack abs or a four-minute mile, but my pants are fitting a little loose, and my endurance is way, way up. Similarly, in the practice room, my summer’s efforts haven’t brought my recital repertoire to blazing tempi and groundbreaking interpretation, but I have shored up some fundamentals and made headway on some new techniques.
    • Variety is good. The fitness class was a “boot camp”-style regimen, with lots of short intervals of high-intensity (for me) exercise. It’s very similar to a strategy I use when practicing: pick a problem spot, and give it 10 minutes of hyper-focused effort. After 10 minutes, move on. It’s amazing how much gets done in a few hours’ worth of ten-minute chunks, and I enjoy it much more than long sessions working on the same problem.
    • Don’t fight your equipment. I bought new shoes partway through the summer, and the next day’s class was agony on my legs. I got some advice and bought some drugstore insoles that supported my feet differently, and the following class was 100% better. Same thing goes for my instruments and reeds: if something isn’t working efficiently, I’m unhappy and ineffective (and possibly even injured). Make sure your instruments are the best quality you can reasonably afford, and that they are kept in excellent repair and adjustment.
    • The fitness instructor was fond of saying, “If it doesn’t challenge you, it doesn’t change you.” (The phrase seems to get credited a lot to Fred DeVito.) It’s easy to fall into patterns of “practicing” what I can already do, rather than tackling something that will push me to a new level.
    • Progress feeds motivation. I found that sweating through a few weeks of exercise and seeing some improvement really boosted my enthusiasm for exercise. (To my own surprise, I’m even hoping to fit in another exercise class during the semester.) I recall as a freshman music major really struggling with getting my practicing done at first. But as it started to pay off, I got excited about what I was accomplishing, and it snowballed into more and better practicing.

    Go put in some hours in the practice room—and in the gym, too!

  • Confident entrances

    It’s deceptively difficult to make a correct entrance after a rest. Here’s what I recommend for maximum confidence and security: Read More “Confident entrances”

  • Isolating problem spots

    Earlier this month I posted about a fundamental practicing concept that sometimes escapes my less-experienced students. Here is another:

    Me: Play your D melodic minor scale.

    Student: [Begins D minor scale, plays a wrong note in the second octave.]

    Me: Whoops, remember to play B-natural.

    Student: Okay. [Starts over, makes same mistake.]

    Me: Please start at the second-octave A, and play just from there to—

    Student: [Starts from second-octave A, makes the same mistake, proceeds to finish the scale.]

    Me: No, I want you to start at the A, play just to the B-natural, and stop.

    Student: [Plays.]

    Me: Okay, that’s correct. Now—

    Student: [Starts over, makes same mistake.]

    Practicing in overly large segments is an issue for less-experienced students for at least three reasons. The first is that is it makes it difficult to notice exactly where the problem is happening. Students may tend to “power through” a section and evaluate it as a whole (“That wasn’t very good”), then simply start over again and hope for the best. Sometimes my younger students are surprised when I point out that they are actually making the same mistake over and over. In their minds, it’s a roll of the dice every time, hoping that everything turns out right, and if it doesn’t, then start again and hope for better luck this time. Practicing in smaller segments makes it much easier to identify and isolate problems.

    photo, Basheer Tome
    photo, Basheer Tome

    The second issue is that even if the precise problem is known, practicing it within too large a segment increases the cognitive load—it’s hard to devote enough attention to the actual problem when there are so many other notes to think about. Plus, practicing too long of a segment raises the stakes in a way that often doesn’t work well for inexperienced practicers: by the time you actually arrive at the problem spot, the pressure is really on to get it right, since you’ve already invested a lot in this run-through. If you isolate the problem to a much smaller segment, it’s not such a big deal if you have to start again.

    The third issue is efficiency. If your goal is to correct one wrong note, which lasts less than a second, and you play 30 seconds’ worth of music leading up to it and another 30 seconds’ worth after it, then you can only get about one repetition done per minute. Even if you get it right, it will take you hours to really solidify that passage. But if you can narrow the problem down to two seconds’ worth of music, you can do many repetitions per minute.

    In most cases, the problem that needs fixing has to do with getting from one note to another successfully. It may be that the second note isn’t the right one, or that it doesn’t respond right, or that the articulation isn’t correct, or a variety of other things, but the crucial concept is that there is a pair of notes, and the first note is right, and the second one isn’t.

    Step one is to practice just those two notes, not just once through, but many times. If this is only accomplished with difficulty, it may be due to the second note having a less-familiar fingering, or perhaps some kind of particular response difficulty. Practice those two notes—and only those two notes—over and over until they improve. If they don’t, consult a teacher who can help to you diagnose and improve your technique.

    If playing the two notes is trivially easy, then the problem is something about the context in which they appear. Add one more note before the first one, and repeat it several times. If it’s still easy, add one more. Continue until the problem returns, and practice that sequence of notes slowly and carefully until it feels natural and solid. If it becomes clear that adding more notes before the problem isn’t what’s triggering it, then start again from the two notes and gradually add notes after them. Sometimes anticipating what follows can cause something to go wrong.

    Don’t be overly anxious to put the (former) problem spot back into the “context” of a whole scale or etude or movement. Make most of your practicing small-segment work, and very gradually reassemble the small segments into slightly larger ones. Repeat the slightly larger ones many times, then combine them again into still larger ones.

    Take the time to break your practicing down into smaller chunks, isolate the problem spots, and work them methodically and repetitively.

  • |

    Know your foreign musical terms

    This is a bit of one of the excerpts that I provided for my saxophone students to play at their beginning-of-the-semester band auditions.

    "Excerpt

    I heard some very fine playing during the auditions, but many of the students were fooled by the “senza vib.,” with some going so far as to use fairly extreme vibrato at the beginning of the note.

    As my blog readers already know, of course, senza vibrato means without vibrato. Read More “Know your foreign musical terms”

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