What if I don’t love to practice?

Musicians are supposed to wake up every day filled with a burning desire to practice for hours, right? If you don’t feel that way, you must not really have what it takes, right? And even if you don’t feel like practicing, you should be able to will yourself to do it anyway, right?

It’s normal and okay not to love practicing, or for your love of practicing to vary. And it’s normal and okay to have less-than-perfect willpower.

Some self-awareness about your practicing (or lack thereof) can help a lot. What keeps you from practicing, or from practicing at your best? Can you embrace it? Incorporate it? Work around it?

Here’s an example: I’ve discovered that my mind wanders a lot while I practice. I might be doing some slow repetition of a tricky passage, but my brain is working on something else. So now I practice with a small notepad nearby. I find that if I can pause practicing for a moment and jot down a few thoughts, it quiets my mind.

At first I resisted this idea, because it seemed like I was planning to multitask and be distracted. But for me, permission to get the idea out of my head and onto paper makes my practicing much more productive overall.

Do you fail to practice, or fail to practice well, because:

  • …you get too bored working on one thing for such a long time? Can you rearrange your practicing so you change tasks every few minutes? Or spread your practicing out throughout the day?
  • …you hate missing out on what your friends are up to, IRL or online? Would it help if you gave yourself permission to spend a few minutes now and then, within established limits, to catch up on what’s happening? Or what if you practiced first thing in the morning, before your social circle gets interesting?
  • …you’re engrossed in an interesting book or show? What if you got to read or watch for ten minutes as soon as you finish your scale routine, or put in a solid half-hour on your étude? Or if you get your practicing done before dinner, you get to binge in the evening, guilt-free?
  • …you get hangry or tired? Could you schedule yourself some breaks to snack or nap or stretch? Or move your practicing to after a meal, instead of just before?

Instead of beating yourself up about motivation or willpower, ask yourself how you can harness your natural inclinations and use them for productive practice.

Favorite blog posts, June 2019

Hand-picked high-quality woodwind-related blog posts from around the web, June 2019 edition.

What are registers?

“Registers” are a tricky concept in woodwind playing. Here’s how they work. For simplicity’s sake, let’s say I am playing a flute with a C footjoint. If I finger a low C, that closes all the instrument’s toneholes and produces a C4: As I work my way up the chromatic scale, I gradually open more … Read more

So you want to hire a horn section

So, you want to hire a “horn” section for an upcoming gig or recording. Great! Horns can add a special touch to your rock, pop, blues, etc. performance. If you haven’t hired horns before, here are some things to keep in mind: A small thing: the word “horn” as it’s used in this kind of … Read more

Woodwind doubling and oboe problems

There’s an increasing expectation that woodwind doublers be competent and confident oboists. It can be a challenging double, but a worthwhile one. Many of my doubling gigs have come to me because of my ability and/or willingness to play the oboe. And even though it’s not my strongest instrument, there are considerable spans of my … Read more

Favorite blog posts, May 2019

Hand-picked high-quality woodwind-related blog posts from around the web, May 2019 edition.

Time-crunch vs. long-term practicing

My approach to practicing has to adapt to deadlines. Sometimes the deadlines come up fast, and there isn’t time to make everything as perfect as I would like. Other times I have plenty of preparation time and want to make the best use of it. Suppose the music I’m working on has one or two … Read more

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 … Read more

Playing issues vs. reading issues

Sometimes when I struggle with a musical passage it’s because I can’t quite play it—maybe my fingers or tongue won’t move quite fast enough yet, or there’s a difficult slur or interval leap that I’m still mastering. The solution is methodical practice, which of course takes significant time and effort. But there’s an additional set … Read more

Favorite blog posts, April 2019

Jennifer Stucki, oboist: Why is my Reed Playing Sharp and Flat? Rachel Yoder, clarinet: Objective Language in Applied Music Instruction Just Flutes Blog (Roderick Seed): Tips on Andersen Etudes: Op15, No. 3 Sam Newsome’s Blogsite: Soprano Sax Talk: Acute and Chronic Practicing Bassoon Blog (Betsy Sturdevant): Contrabassoon for Dummies The Flute Examiner (Kelly Wilson): 11 … Read more