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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  • 10 ideas for more focused practicing

    It can be difficult to keep practice sessions focused and productive. Distractions, burnout, boredom, and bad habits get in the way of progress. Try some or all of these, see what works well for you, and make the most of your practice time.

    Photo,  woodleywonderworks. (license)
    Photo, woodleywonderworks. (license)
    1. Prepare yourself mentally. Before you start, take a few minutes for meditation, prayer, introspection, deep breathing, self-awareness, or whatever else helps you set aside the concerns of daily life and get in the zone.
    2. Prepare yourself physically. Stretch, hydrate, dress comfortably. Get enough sleep and exercise and eat a balanced diet. Protect yourself from repetitive-motion injuries and make sure your body can perform at its best.
    3. Embrace routine. Develop some habits around your practice schedule. A carefully-selected routine gets you into practice mode and reduces the chances of falling into procrastination. It also gives you a framework that can be fine-tuned when you have a new idea you would like to incorporate.
    4. Warm up. It doesn’t just mean bringing your instrument up to temperature. Do long tones, scales, articulation studies, or other things that get your instrument-playing muscles working together. Choose ones that demand your very best embouchure, voicing, breath support, finger technique, etc.
    5. Be goal-oriented. Know what you want to accomplish, as specifically as possible. Not “I’m going to practice my scales.” Try “I’m going to get my F-sharp major scale tempo up to sixteenth notes at 60 beats per minute with no wrong notes or hesitations.” Or even better: “I’m going to train my fingers to use that alternate D-sharp fingering in the top octave of the F-sharp major scale at 60 beats per minute with no incorrect or hestitant finger motions.” Goals shouldn’t only be technical; they can be expressive and interpretive, too. Make a list, and start checking things off.
    6. Seek variety. Don’t drive yourself crazy or die of boredom practicing one problem phrase for hours on end. Through experimentation, figure out how long you can really maintain focus and enthusiasm for a single practice task (10 minutes usually works well for me), and move to a new task when it gets less productive to work on the old one. You’ll come back to it later with fresh ears/eyes/fingers/lips.
    7. Take breaks. Take them frequently, but don’t leave them open-ended. Know exactly when you plan to get back to work, and what task you will be tackling next.
    8. Self-evaluate. You probably already have some kind of device you can use to record yourself. Listen back as though it’s somebody else playing. Make notes about what you hear. Pick the biggest-priority items and add them to your goal list.
    9. Escape distractions. You know what pulls you away from the task at hand. Hide it, silence it, power it down. How different would your practicing be if the only people or objects in sight were you, your instrument, and a music stand?
    10. Find inspiration. It’s hard to reach a performance goal if you aren’t sure what that goal sounds like. Don’t be afraid to listen to recordings or watch videos of your heroes—you will still sound like yourself, just a better-informed version of yourself. Listening to singers or players of instruments besides your can really open up your mind and ears, too.

    Have additional tips? Leave a comment!

  • 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 “Doubling reminders for the day”

  • Local vs. big-picture dynamics

    An important part of interpreting music is figuring out how to use dynamic markings. They aren’t as simple as just playing louder or softer.

    It helps a lot to understand the difference between what I call local dynamics and big-picture dynamics. Unfortunately, they are marked in sheet music using the same symbols, so it’s not always immediately obvious which they are. When you study a new repertoire piece, ask yourself why the composer or editor has provided each dynamic marking:

    Is it there to call attention to a major event in the music, like a new theme, a return to an old theme, or some other kind of climactic moment? If so, it’s a big-picture dynamic. In many cases there is some other evidence that this is an important moment: a double-bar, a fermata, a key or tempo change, an entrance after some rests, etc. (If you have studied musical form, you probably have some more ideas of what to look for.)

    Or, is the dynamic marking there just to provide some shape and direction to a phrase? There’s no major musical event, just a hint about the momentary musical gesture. If so, it’s a local dynamic.

    When you think in terms of local vs. big-picture dynamics, it’s clear that not all fortes or mezzo-pianos or crescendos are equal. If the composer uses dynamics to contrast two themes or sections, for example with one being soft and the other being loud, that probably calls for a dramatic change. (It may also hint that some other unwritten contrasts are appropriate, like nuances of tempo, articulation, or tone color.) But a one-measure decrescendo from forte to piano in the middle of a theme might be more of a suggestion from the composer about what direction that phrase should take, and should be handled with more subtlety.

    Beware of the limitations of dynamic markings in music notation, and of careless editing, and use your best-informed musical judgment to interpret the meanings of those symbols.

  • Getting the most out of practicing your scales

    When you practice scales (or arpeggios or, really, any other technical material) it’s not really about the scales. Nobody wants to buy tickets to hear you play scales.

    Scale and technical practice develop the fundamental technique you need for doing more interesting things. You don’t learn multiplication tables or French verb conjugations so you can recite multiplication tables or French verb conjugations. You learn them so you can file your taxes or build a Mars rover, or order pastries or read Proust.

    The habits you develop when practicing scales—the building blocks of your technique—will be with you in everything you play. So take them very seriously:

    • Go slowly, and be as precise and controlled as you can. You will work on scales for your whole life as a musician, so there’s no rush to get them up to a certain tempo. Don’t waste time playing them sloppily.
    • Listen deeply to the sound of each note. Scales are a great chance to understand and map the tone, pitch, and response nuances of your instrument. Get in the habit of playing with your most beautiful sound even on technical material.
    • Solidify your best practices. Choose the perfect fingering for each and every note (don’t just fall back on what is already comfortable). Program your fingers to move in the most efficient and precise ways. Stabilize your breath support, voicing, and embouchure.
    • Be expressive. No need to go overboard—just give a subtle crescendo as you ascend and diminuendo as you descend. Add a little vibrato to warm things up. Make it automatic to find and express phrases.

    Whatever habits you solidify in your scale practice will be infused into everything else you play. A little carelessness with your multiplication tables or verb conjugations can result in a severe fault with your Mars rover’s circuits or a profound misunderstanding of French literature. Get the little things right.

  • |

    Planning breaths

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    When learning a new étude or repertoire piece, it’s common to practice at first with focus on the notes, often playing them at a slow tempo and/or divided into chunks. This is a good approach for mastering the needed finger technique, but it may neglect one of the crucial parts of a performance: breathing.

    In some music, it’s obvious where to breathe. But in a page of nonstop sixteenth notes, it’s harder to find the right places, and to execute them gracefully. Adding to the problem, I find that when I am nervous or playing under pressure, my breathing is one of the first things that falls apart: I start breathing in unaccustomed places, or skipping breaths that I know I really need.

    I recommend establishing a breathing plan early in the process of learning new music. That way you can practice the breaths just like you practice the notes—they become a part of your muscle memory, and will happen automatically even under pressure.

    The first step for a wind player should be to mark in the musical breaths, the ones that demarcate phrases. These are breaths that you will take (or possibly fake) regardless of your need for oxygen, because they serve the music. How exactly to do that is beyond the scope of this post, but here are a few quick tips:

    • Beware breathing at bar lines. They look like nice stopping points, but often don’t make musical sense. (They are there only for your convenience in counting.)
    • Background in music theory helps a lot, but you can also use your ears to help you figure out intuitively where a phrase comes to rest, or steal ideas from a good recording.
    • To go deeper, consider studying phrasing, perhaps from a book like David McGill’s. (Put that one on your wish list if you haven’t read it already!)

    Once the breaths required by the music are in place, you may decide you need more, perhaps because you haven’t worked the piece up to its full tempo yet (or because the piece isn’t written with sensitivity to your desire to survive). Mark in-between “survival” breaths as needed, perhaps in parentheses so you remember which ones they are. Put them in the best places you can find, and execute them as musically as you can, but as your tempo increases you may be able to skip them. If so, be sure to erase them so your marked-in plan stays up to date.

    Choosing places for survival breaths is a trial-and-error process. Mark some in and give them a try, then adjust as needed. If you feel uncomfortable while playing, this can lead to panicked decisions on stage, so choose breaths for your comfort.

    Particularly for the oboe, you may find you need some “breaths” where you can actually exhale stale air. Mark these clearly, too.

    Always update your pencil marks if you decide to change the plan at all, so that your plan is 100% clear and you can practice it in a consistent way. You can change your mind later, as long as you change your marks.

    To summarize:

    • Start early in the process of learning a new piece.
    • Mark in musical breaths, which you will observe even if you’re capable of playing longer without stopping.
    • Mark in survival breaths, if necessary. Use trial and error to get them right.
    • Practice the breaths just as diligently as you practice the notes.
    • As you get closer to the performance, you might alter the breathing plan as your interpretation evolves, or as you no longer need some of the survival breaths.
    • Be strict about keeping the markings current, and about playing just what is marked.

    Well-planned, thoroughly-practiced breaths contribute to a relaxed, musical performance.

  • Getting past frustration and burnout

    Every musician (and music student) goes through periods of frustration and burnout. But there’s no one-size-fits-all solution. Here are just a few ideas to consider:

    • Talk to someone. It might be a colleague who can directly relate to what you’re going through. Or a friend or loved one who cares about you. Or a mentor who can offer wisdom. Or a professional counselor who can listen dispassionately and offer coping strategies. Or maybe all of the above.
    • Get organized. Sometimes taking control of your life can bring some calm and make problems seem more manageable. Clear your desk, make a to-do list, review your calendar, clean out your instrument case, make your bed.
    • Get inspired. Go back to what gets you excited about music. Listen to or play through some old favorites or something new you have been wanting to try. Go to the opera or a rock concert or a jazz club.
    • Do some self-care. Get some exercise, get some sunshine, get some sleep, get some air, stock the fridge with nutritious meals, meditate, worship, or do whatever else makes you feel balanced and healthy.
    • Take some time. If you can, take a little break to recharge. Depending on your circumstances, that might mean going on vacation for a couple of weeks, or spending a quiet weekend at home, or just taking a few minutes between practice sessions to rest and recover.
    • Ride it out. Bear in mind that frustration and burnout are extremely common complaints. When appropriate, it may be helpful just to recognize and accept the negative feelings, and forge ahead anyway.

    To expand on one point from above, if you find that you are no longer finding happiness or fulfillment in your musical pursuits, and the situation seems to be more than the usual ups-and-downs, consider checking in with a professional counselor. (If you are part of a university community, you might have no-cost or low-cost access to counseling services on campus.) Counseling isn’t just for people who are “sick” or “crazy”—most of us can benefit now and then for talking things through with someone who is good at it, and who, if and when needed, can identify issues that are treatable with medications or other therapies.

    Have more ideas on coping with frustration and burnout? Please share in the comments.

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