But I can do it in the practice room

Every week I hear students play badly, then tell me, “but I can do it in the practice room…”

Here are some reasons things might go more poorly in a lesson than in a practice session, and some strategies for dealing with those problems.

photo, Derek Bruff
photo, Derek Bruff
  • It’s possible that you’re not really playing any differently. Things seem worse because having someone else listen heightens your sense of what you really sound like. Try recording yourself while practicing, then listening back. It can be a painful revelation, but it can bring problems to your attention and improve your ability to really hear yourself as you play.
  • It’s possible that your mastery of the music is really only borderline, and the normal stress of having an audience is enough to cause trouble. This is what I call “sight-reading mode.” It’s not that you are necessarily playing the music for the first time, but you are still at the point of having to mentally process each note as it goes by. For more stress-proof performance, put in more slow, accurate repetitions when practicing to build your muscle “memory” and aural memory.
  • It’s possible that your mastery of the music is good, but your stress is above normal. In this case the problem isn’t your practicing per se. Improve your ability to play in front of others with techniques for managing performance anxiety. These might include healthy lifestyle habits (sleep, nutrition, and exercise) or mental exercises (like visualization, affirmations, or mindfulness practice).

Don’t make excuses, look for solutions!

Similar Posts

  • 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.

  • 12(+) ways to practice a technical passage

    A popular article from the Bulletproof Musician blog has been making the rounds on social media again, which, to oversimplify, recommends variety in your practice routine.

    What is crucial is that you are keeping your brain engaged by varying the material.

    One of the suggestions the author (clarinetist Christine Carter) makes is to practice passages “in different rhythmic variations.” She doesn’t go into detail because that isn’t the main thrust of the article, but here are some of my favorite ways of varying rhythms for practice.

    Let’s take this example passage:

    Original excerpt (from Piazzolla Tango Etudes, notation simplified)

    The most obvious and common rhythmic variation for practice is to use uneven rhythms, alternating long and short notes. There are two ways to do it:

    Methods 1-2: Long-short, then short-long

    In all of these examples, note durations aren’t necessarily set in stone—they are just meant to show which are the long notes and which are the short ones. The first example above could alternatively be notated this way:

    Method 1a

    Those examples use groupings of two notes, a long one and a short one. We can extrapolate that to, say, groups of three notes, one long and two short. There are three ways to do that:

    Methods 3-5: Long-short-short, short-long-short, short-short-long

    Another variation would be groupings of four notes, done four different ways:

    practice4
    Methods 6-9

    For additional practice, try groups of five, six, and so on.

    Another extension of this technique is to keep the basic rhythm the same but shift it within the meter:

    Methods 10-12

    Use subtle anchoring to make this especially effective. Again, the possible variations are limited only by your imagination: try playing the passage in triplets instead of sixteenths, and then shift those within the meter.

    I find these techniques to be an excellent way to keep some variety and interest in my practicing even when I’m stuck on a particularly frustrating passage. The Bulletproof Musician article suggests rotating between several passages in order to keep the routine varied, and I agree that is a useful way to practice, but I find that, in moderate doses, playing one passage in many different ways has similar effects.

    Keep your practicing varied and goal-oriented!

  • Using sticky notes to focus my performance thinking

    I might put in weeks or months preparing for a high-pressure performance. The groundwork is done—I have made the technical and interpretive decisions, drilled the difficult spots, and otherwise planned and prepared every aspect of my playing.

    But all of that can fall apart pretty quickly if my head isn’t in the right place. Nerves, stress, and distractions can make one small error snowball into an unfocused, sloppy performance.

    One of my favorite tricks to help avoid this is to plan my thinking. As I do the final preparations for my performance, I often pick out two or three things I would like to focus on as I begin each piece or movement. These might be important technical details (“make sure embouchure is stable before playing the first note”), more general advice (“keep breath support strong through the ends of phrases”), or interpretive thoughts (“light and playful”).

    I write these two or three things (no more) on a sticky note, and place it at the beginning of the piece or movement. If the reminders seem especially crucial, I might put the sticky note over the first few measures of music, so I can’t start playing until I have physically moved it out of the way.

    This small preparation helps ensure that as I begin to play, I’m thinking about the things that are most important to the success of the performance, rather than reacting to distractions.

  • Playing at professional volume

    One thing I notice about a lot of my younger university students is that they play softly. Sometimes they seem reluctant to play above what I might consider about a mezzo piano.

    If I ask, many of them reveal that they spent their formative years in school band programs getting The Hand from their directors. Beginning oboists and saxophonists in particular can make rather pungent and conspicuous noises. And band directors, understandably anxious to produce a well-blended ensemble, give the traffic-cop “stop” sign of the raised palm to hush the worst offenders. Those young musicians learn quickly to play in a restrained, timid way, and that anything louder than a murmur is a faux pas.

    I can’t really blame the band directors, who have a set of concerns different from mine. (When I have taught beginners in a private lesson setting, I have encouraged them to play loudly from day one, and treated softer dynamics as an intermediate-level technique.)

    But much of college-level music study is about students’ development as soloists. In that context, they need to play with authority, and, well, volume. And they may find that college ensembles have different demands than their high school groups, too.

    Fixing the problem usually doesn’t involve teaching much new technique, perhaps a review of proper breath support. The rest is encouragement and example from me.

    Over the course of a few weeks or months, I play for them in lessons, showing how I can fill up the room with sound. I ask them to imitate that sound, and urge them on to louder volumes. If I ask them to play their very loudest, and then ask them to top that, they usually can—they are just afraid to, and warn me that if they get any louder it will sound bad. But surprise! It doesn’t.

    If you aspire to play at a professional level, or teach students who do, explore the louder part of that dynamic range, and make yourself heard!

  • |

    Solo/chamber stage etiquette for first-year music majors

    Here’s what I teach my first-year music majors as they are preparing for their first public performance of solo or chamber repertoire. Customs may vary in your area.

    photo, Converse College
    photo, Converse College

    • Dress professionally and comfortably. Formalwear/eveningwear is overkill and a distraction for most music major recital performances. I like to wear a necktie and preferably also a jacket, but something of roughly equivalent dressiness also works (slacks/skirt and a nice top are another example).
    • Enter the stage by walking swiftly and confidently. Stop just short of the music stand, so that it isn’t between you and the audience (at least not yet).
    • Before you do anything else, acknowledge your audience with a bow. (If you are on stage with collaborative musicians, wait for them to get into position so you can all bow together. Whoever is standing closest to the front should start the bow as soon as everybody is ready.) To bow: bend at the waist, look at your shoes for a second, then straighten back up. Keep both hands either on your instrument or at your sides. Don’t curtsy. Don’t shrug or roll your eyes or pull faces. (I suggest practicing your bow a little before your performance. Maybe take smartphone video so you can see if you are doing something weird.)
    • After bowing, make any last-minute arrangements or adjustments: arranging sheet music, checking reeds, etc.
    • If you are taking a tuning note on stage, turn to whoever is providing the pitch. Mostly listen, then play briefly, adjust, and if needed play one more time (briefly!) to be sure. Don’t play a long tuning note, like you’re trying to convince yourself that you’re right. If you’re uncertain about your ability to tune accurately on stage, you can tune to a tuner or other reference before going on stage, and use the onstage tuning as a chance to just play a note before you begin the performance.
    • During the performance, don’t make faces or gestures in response to mistakes. It calls unnecessary attention to what probably are barely-noticeable glitches, and takes you and your audience out of the moment.
    • As you and/or your collaborators play the last note of each movement or piece, freeze in place. Hold your position until the last note finishes reverberating in the performance space, then another second or two.
    • If you just finished a complete musical work (not just one movement of the larger work you are performing), you can bring your instrument down into a carrying position, look out into the audience, and smile to signal that the piece is complete. They should start to applaud at this point.
    • Leave the stage quickly. Don’t be caught still on stage when the applause ends. In some situations you can leave your sheet music behind to be retrieved later.
    • In some cases the audience will continue to applaud enthusiastically after you leave the stage. If you like, you can return to the stage for another bow and then leave quickly again. Sometimes the audience doesn’t bring you back for another bow—don’t take that personally.

    Break a leg!

  • Memorization and practicing

    I think memorization is a useful practice technique, even if you don’t intend to perform “from memory.” Memorization of music has several facets:

    • Aural memory: I should be able to sing the music (at least in my mind) from beginning to end with confidence and accuracy.
    • Content/visual/analytical memory: I should be able to more or less transcribe or describe the music from memory. This might include being able to picture the printed music, being able to describe it in reasonably specific terms (“then there’s a fast run up a C minor scale, ending on a long high F with a fermata”), and/or being able to discuss the formal and phrase structures. (I don’t think you necessarily need to be able to think in terms of formal classical music theory, as long as you have some kind of vocabulary for talking about music.)
    • Physical/muscle memory: If I have practiced in a thorough, detailed way, I should be able to more or less play on “autopilot.” I don’t want to perform in a disengaged way, but I do want to be able to focus my mind on non-technical things.

    Photo, Rick Shinozaki
    Edmund Welles bass clarinet quartet (L to R: Cornelius Boots, Jonathan Russell, Aaron Novik, Jeff Anderle). Photo, Rick Shinozaki

    The benefits of memorization, even for not-strictly-from-memory performance, include:

    • Confidence born from deep mastery of the music.
    • The ability to handle minor on-stage crises, like a missed page turn or a sudden distraction, with ease and grace.
    • Internalization of the music in such a way that interpretation becomes natural, expressive, and personal.
    • Freedom from “reading” issues. Sometimes musical passages are made difficult by visual factors, like hard-to-read notation, a personal reading difficulty (such as dyslexia or poor eyesight, perhaps), or something that simply doesn’t “click” visually for the reader. If looking at the page is causing problems, then just don’t look.
    • Ability to take a step back from the page, literally and figuratively, which encourages greater connection with collaborators and audiences.

    If you are already practicing in a thorough and deliberate way, you are probably well on your way to memorization already without any extra effort. Use good practice techniques and memorization together to support better preparation and performance.

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