Preventing accidents with pencil marks

After some recent windy weather I saw someone in my neighborhood cutting up some fallen tree branches with a chainsaw. He wore jeans and sneakers and handled the saw with something less than familiarity.

Later, I saw a professional tree removal crew working at a similar task. They operated their chainsaws expertly and with confidence, and wore helmets, eye and ear protection, and heavy protective clothing.

I thought the amateur might really be the one in need of safety gear. But the professionals showed up equipped to do the job right, do it promptly, and do it without mishaps.

Sometimes my students seem reluctant to make markings in their sheet music. I think some of them believe that penciling in a reminder of a key signature or fingering choice somehow indicates amateurism, that a better musician  would be able to play successfully without extra aids.

I prefer to gear up like a pro. No matter how confident I am of my abilities, I’d much rather save time and prevent accidents by putting some pencil marks in place. Why spend practice hours trying to remember a flat here or a trill key there when I can solve the problem permanently and in a matter of seconds with a quick marking? Why risk getting momentarily distracted and missing an entrance when a few judicious cue notes can provide a helpful reminder?

Any pencil mark that can shore up your preparation is worth making. Don’t wield a chainsaw or a clarinet without taking necessary precautions.

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    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.

  • Staying challenged

    I teach a small woodwind studio at a small university. That means that sometimes especially talented and hardworking students find they don’t have a lot of competition for ensemble placements, awards, and other things. Here’s what I suggest to students in that position, who want to stay motivated and challenged but have bumped up against the ceiling in terms of those typical measures of achievement.

    photo, Brad.K

    • Find inspiration (and some friendly competition) at conferences, festivals, or “clarinet days” (or whatever). Surround yourself by like-minded achievers. Going to a national/international conference can be expensive and disruptive to your semester, but is probably worth it if you can make it work. If not, consider regional events that happen within a few hours’ drive and often over a weekend.
    • Listen to music every day. Spend a few hours scouring a store, library, or online music service for players and repertoire for you instrument that you aren’t familiar with. Cue them up into a playlist so you can listen for five minutes while you get situated in a practice room or walk between classes. Form opinions about them. Next level: add to this some daily listening of music not for your instrument, something completely unfamiliar. Think outside the Western world, too.
    • Record yourself often. Listen back and take notes (the note-taking is important). What do you find embarrassing or unsatisfactory about it? Ask your teacher and see what other resources you can find for ideas on fixing the problem. Keep adding to your list of things to improve, and re-prioritizing as you do improve them.
    • Seek out opportunities that take you outside your comfort zone. Consider entering a competition or taking an audition (even one you know you won’t win), starting a chamber group, tackling repertoire that scares you, joining a rock band, or something else that musicians you admire do, but that seems a little scary and hard.
    • Think about the things you are doing that you feel you have maxed out—maybe you’re first chair in all your ensembles, you’re getting straight As in your lessons, you have won the top scholarship. Now ask yourself: what would it take to really surprise everybody at the next audition, lesson, etc.? What would set a new standard? What would people still be talking about years from now? What would multiply your achievement by two, or ten?

    Have other ideas? Please share in the comments section.

  • Technical limits

    If I try to play too softly, sometimes my notes don’t respond as I would like. If I try to play too loudly, sometimes my tone or intonation suffer. I have similar limitations when it comes to things like finger or tongue speed, tone color or pitch flexibility, and more.

    The way I deal with these limits is very different depending on whether I’m performing or practicing.

    If I’m performing, I want to stay just within my limits. I want every note to be predictable and reliable. I want to take advantage of every bit of my dynamic range, but no more. I want to make wise, deliberate, professional-quality choices.

    If I’m practicing, I want to explore those limits. Push those limits. Live just beyond those limits. It’s important to do this for couple of reasons. First, if I don’t go past those limits, I won’t know where the limits are for my upcoming performance. Second, if I’m too afraid to go past the limits in the practice room, I’ll never expand them. And if something goes wrong—a note cracks or fails to speak or is out of tune—that’s okay, it’s just practice.

    Find your limits, know them well, and, in your practice space, break them.

  • Practicing and the two-minute rule

    David Allen’s well-known book Getting Things Done is always within arm’s reach at my desk. I find its concepts and techniques valuable for managing my time and productivity.

    I don’t consciously use a lot of “GTD” ideas in my practicing, since practicing seems to me like a thing that is never “done.” (If any of you are applying GTD concepts to practicing, I’m interested in hearing about it.) But there’s one part of the GTD system that I do think of often when practicing or working with students: the “two-minute” rule.

    photo, Matthew
    photo, Matthew

    The idea is this: when organizing your tasks, if something comes up that will take less than two minutes to complete, it’s better to go ahead and do it rather than taking the time to process it into your to-do list and revisit it again later.

    I try especially to impress this on students who are stuck in “stage one” practicing, running long passages or entire pieces without stopping to isolate and fix problem spots. If you are practicing, here are some examples of things to spend two minutes or less solving now, rather than adding them to a do-later list:

    • Look up an unfamiliar foreign term
    • Mark in a missed key-signature note or ensemble cue
    • Practice an awkward three- or four-note passage (How many times can you practice it in two minutes? One or two hundred times?)
    • Check and adjust the tuning of a problem note
    • Revisit a favorite tone exercise to improve the sound of a certain note or passage
    • Figure out and mark in a trill fingering
    • Make and notate an interpretive decision (You can always change your mind later. For now, pick a plan and try it out rather than leaving it up in the air.)
    • Choose and mark a good place to breathe
    • Settle a question or conflict by consulting the full score or accompaniment part
    • Make a quick recording (your smartphone probably has a voice-recording app) and identify some areas to focus on (and possibly solve in two minutes)

    This approach does sometimes mean breaking stride on larger practice-time projects, but in general I find the two-minute fixes to be worthwhile.

  • The best practice routine

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    Lately I’ve been on a diet that has a weekly “cheat” day. Six days out of the week, my meals are Spartan, but on cheat day I get to eat whatever I want.

    My guess is that isn’t the ideal way to manage my waistline. I would be better off eating more regimented meals every day. But I would burn out and quit. The cheat day is a compromise. It cedes a little ground to my sweet tooth, but keeps me going back to lentils and broccoli for another six days.

    photo, Dave Crosby
    photo, Dave Crosby

    Every so often I decide to revamp my practice routine. It’s always ambitious. I plan hours of long tones, a battery of scales and exercises and etudes, piles of classical repertoire, and new jazz tunes. I see myself drilling every aspect of my playing for hours and hours every day.

    It usually goes well for a few days, and then fizzles out. I tell myself that I’m not getting my routine done because of a deadline. Or a conflict. Or because I just needed to sleep in a little that day. But the truth is that I’m burned out—I’ve given myself a practice routine that I can’t or won’t sustain.

    It’s often said that the best diet is the one you stick to. I think that’s good advice for practicing, too. It would be great to do a super-intense practice routine every day. But if a little lower intensity is what prevents burnout, then so be it.

    If you are finding your latest practice routine to be hard to keep up, ask yourself what you can do to make it a better experience. What will bring you back again the next day? Shorter sessions? More frequent breaks? Fewer things to practice? A greater variety of things to practice? More structure? Less structure? A weekly “cheat day” when you get to skip scales and play whatever you want?

    A practice routine, like a diet plan, should be good for you and should help you reach your goals, but it should also be something you can sustain and even enjoy.

  • Brand snobbery

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    I recently met a fellow woodwind player, and the conversation inevitably turned to gear. We had each recently tried out an instrument by a relatively new maker. My new acquaintance found it not to his liking. “I’m a _____ snob,” he proudly explained, naming a very popular and well-established instrument maker.

    I also recently read a woodwind-related message board thread (why do I torture myself?) in which some discussion was taking place about an accessories maker who had recently branched out into a new venture. A commenter scoffed at the new product and at the maker in general, indicating his disinclination even to sample any of their (generally well-regarded) products. He offered no explanation for his strong and seemingly arbitrary opinion.

    Your gear choices are your own. But if you find yourself clinging to brand names, and defending those choices with something besides objective comparisons, then you might be missing out.

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