Posts Tagged ‘performance’

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Do You REALLY Know it?

September 25, 2017

When I ask new students if they know all of their major scales, I usually get “yes” responses.  Then I pick up my horn and say, “Okay, let’s play them.  First me, then you.”  It’s at that point that I can tell by the look in their eyes whether or not they really know them.  Most of them know how major scales are built, and can tell me how many flats or sharps are in the key signatures.  That’s a great start to REALLY knowing.

Let me ask you a question:

What’s the 13th letter of the alphabet? 

Right now, most of you are either thinking (or singing to the tune of Twinkle Twinkle Little Star): “A-B-C-D-E-F-G” while counting on your fingers.  If I asked you if you know the alphabet, you would most likely answer yes.

I want a deeper knowledge of scales and music.

This brings us to memorization.  For some, memorization has become a bad word.  For others, it’s an absolute necessity.  This is where the problems begin.  Memorizing data without understanding it is useless.  For example, if you can tell me that the Ab major scale has four flats, and they are Bb, Eb, Ab, and Db, but still can’t play an Ab major scale, you still have work to do.  Having no data at all will make your job much harder.  If you don’t know how to build an Ab major scale, you’ll probably have a hard time playing one.

There are things that need to be not just memorized, but truly learned so that you can progress.  There is information that you need to own.  And here’s a secret- the more you own, the better.

Smartphones have made it very easy to not know anything.  If you need directions, a recipe, stats from a football game on Saturday, or the name of that person on that show that was that other character from that movie- there’s an app that can help you.  I say this as someone that uses my smartphone regularly for these purposes.

When it comes to music, I want you to start taking responsibility for REALLY knowing your material.  Let’s start with scales as an example:

  1. Can you play all of your major scales from memory?
  2. What about minor scales (natural, melodic, and harmonic)?
  3. What about modes?
  4. Can you play them in 3rds?
  5. 4ths?
  6. You are, of course, playing them over the entire range of your instrument, right?

If you’re thinking- wow, that’s a lot!- you’d be right.  So where do you start?  Simple-with something, anything, that you know that you don’t REALLY know.  Set aside a little bit of time every day to get better.  That little bit of time, every day, will add up quickly, and you’ll start seeing results.

Once you start working in this way, you can start seeing music in a bigger picture.  You won’t be looking note-to-note; you’ll be seeing phrase-to-phrase.  And once you starting taking the responsibility of REALLY knowing music, your performances will improve, and your growth will skyrocket.

I love etudes.  I use them in my practice and in my teaching.  In the abstract, learning any one etude for your lesson isn’t the most important thing in the world.  Students will often ask the questions (especially when it comes to advanced math): “Do I really need to know this?” and “Am I ever going to use this again?”  Although you may not be asked to play etude #19 in public at any point in your career, the cumulative knowledge you gain by taking the time to REALLY know each piece assigned will, over time, help your overall musical growth immensely.

There are always more ways to practice, and always more information to learn.

This is why being a musician is the best way to live.

 

 

 

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Ownership

May 19, 2017

It’s amazing how many times I’ve heard:

“I aced that test.”

or

“I played great.”

And from the same people:

“The teacher gave me a D.”

or

“Umm…my valve stuck…the print was too small…with Venus in retrograde there was just no way.”

It’s very easy to take credit for the good stuff.  When everything is going well and you’re getting positive feedback, ownership is a piece of cake.  It’s when stuff starts going poorly that ownership gets more difficult to assume.  It’s not unusual to look for excuses, or someone else to blame.  Resist that urge.  You must own all that goes right along with all that doesn’t.

Remember this:

A bad performance doesn’t make you a bad person.

Musicians, like many other professionals, often tie their work to their overall self-esteem.  This is very dangerous.  Playing trumpet well does not make you a good person.  Taking pride in a job well done is very different than believing that, because you happen to play well, you’re a gift for the world to enjoy.  On the opposite side, a bad concert doesn’t make you some kind of sub-human never allowed to see sunlight ever again.

While it’s natural to feel good after playing well and not as good after playing poorly, what you do with those feelings is very important.  If you take your good performance as a sign of how great you are, it’s unlikely you’ll keep getting better.  And if you believe your bad performance proves every negative thought that has ever entered your head about yourself, it’s also unlikely you’ll grow from that.

The first thing my students hear from me after finishing playing something is usually, “How do you think that went?”  The answer to that question will show what the student noticed about that performance.  I want to know what the student thinks went well as well as what needs work.  Because most of the time we spend practicing is alone, it’s vital that we learn self-diagnosis.  Once we figure out what was good and what still needs attention, we know what to practice.  At the end of most lessons, my students hear, “So you know what to practice?  And how to practice it?”  When the answer to both questions is yes, I let them go, looking forward to hearing them the following week.

To truly enjoy the gratification that comes from a great performance, and you should, you must completely own the frustration of those performances that weren’t your best.

One last thing- the day after that performance, no matter how it goes:  Get back in the practice room.  There’s still plenty of work to be done.

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The Power of Mental Focus

May 13, 2015

In the time I’ve been teaching trumpet lessons, I’ve worked with students of all ages, interest levels, and experience- beginners getting their horns for the first time, high school students, professionals, come back players, and of course college students.   For the long term growth as a musician and trumpet player, one of the most important concepts (and sometimes the most difficult to teach) needed is mental focus.

When I first started teaching beginners, this is what I told them:

“If you practice everything I give you, the stuff you are responsible for in band is going to be pretty easy.  You’re going to sound really good in band, and your director will be very happy with you.  Your director and the other kids in band will think you’re very good.  But we’ll know the truth.”

Then I would explain to them what I meant by “the truth.”  The truth is that our playing is always changing.  Done right, our playing is always growing.  In the big picture we need to do two things:

  1. Practice how to play the horn. In other words- fundamentals.
  2. Practice what to play on the horn.  In other words- music.

(There’s a lot of overlap here, as fundamentals should be played musically, and playing music can certainly inform our technique and spur fundamental growth…but that’s a discussion for another day.)

So “the truth” is that there is always work to be done on our playing.  Always.

There are two reasons I told my beginners this.  They are:

  1. to give them confidence when playing in a group, whether in a performance or rehearsal, that they have the tools necessary to do a terrific job.
  2. to stave off the stereotype of the “cocky trumpet player” by letting them know that there’s always more work to be done.  When things go well, it’s a result of good practice, and not because they were anointed by magic fairies at birth with a special potion that made them the greatest players the world has ever heard.

This worked well. Since I started teaching college, it has surprised me how many students get this backwards.  I hear how their thought process in rehearsals and performances focuses on what is lacking, and the thought process in the practice room focuses on how good everything is.

I found this troubling.  So, like always, let’s start with the easy stuff:

Everyone has strengths and weaknesses

This seems like a simple enough statement.  Here’s why I bring it up.  When in a group, it can be easy to focus on someone else’s strengths, especially if they are your weaknesses.  This is a quick road to Insecureville, which is right next to Underconfident City.  Once you arrive there, it’s very difficult to play your best, as you will be telling yourself how much you can’t do.  Similarly, there are those that like to focus on someone else’s weaknesses, especially if it matches their strengths.  This is the express lane to Conceitedton, which borders Cockyberg.  Once you arrive there, you are so sure of yourself you don’t play your best because, no matter what comes out of your horn, you’ve already convinced yourself you’re the greatest thing since the invention of nachos (mmmm….nachos).

These are bad places for your mind to dwell.  Here’s how mental focus can help.

When practicing, focus on your weaknesses

Again, this may seem simple.  For a lot of people, closing the door to the practice room and really admitting to and working on a weakness can be very difficult.  Once you really commit to this kind of focus while practicing, you’ll see the benefits.

Which brings us to:

When performing, focus on your strengths

When it’s time to play with others, your mental focus needs to shift. Finding the mental place of being confident without being cocky can be a challenge.  Your mental focus will be most beneficial if it is focused on what you bring to the performance.  If you’ve been practicing well, this can help, as you’ve built a habit of playing the instrument well fundamentally and musically in the practice room.

The Circle of Growth

If you can take charge of your mental focus, you can build a circle of growth.  At the top of the circle is practice.  Since you’re focusing on your weaknesses in the practice room, you’re getting better and better at the instrument, building your confidence in what you’re able to do.  At the bottom of the circle is performance.  Since you’re focusing on your strengths in performance, your performances become better, building upon the good habits you’ve build in the practice room.  After your performance, you take what didn’t go as well as you’d like in the performance into the practice room and treat it as a weakness to be worked on.

Keep doing this.  Forever.

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Level of Expectation

January 7, 2015

Here’s one of my least favorite phrases:

Good enough

What that means to me is that it’s not as good as could be, and that it’s okay to settle for less than an optimal result.  I’m not okay with either thought.

Level of expectation can be a difficult topic of discussion, as everyone is in a different place.  So I will try to be as clear as possible.  There are many times when I’ve witnessed players of all levels finish a performance and say something like:

…but that’s not how I play.”

Here’s the truth:

That is how you play.

If you’re unhappy with your level of performance, it’s likely that you should be unhappy with your preparation.

Too often, people dutifully spend time in the practice room hacking away until it’s time to be done for the day.  When a performance comes around, they think the mindless practice (“But I practiced 2 hours a day every day this week!”) will magically transform into a higher level of performance.  That’s not how it works.

If you truly want to raise your level of performance, it starts with how you are practicing.  Here are some guidelines to help you get started:

  • Before you start practicing, have a idea of what that session will accomplish.
    • It could be as simple as figuring out where you’re going to breathe, or increasing the tempo by 5 beats per minute on a particular piece or passage.
  • When you have accomplished what you set out to do, move on.
    • If you finish quickly, set another goal and continue.
    • If it takes a while, then it’s time for a break.
  • Practice performing.
    • If the performance is the first time you’ve played that piece all the way through without stopping, you have not set yourself up for success.
  • The quality of your practice, not the quantity, is the most important aspect.

Now comes the hard part.  You’re practicing dutifully, holding yourself accountable, and making real progress in the practice room.  The next performance comes around, and you’re still not happy.  That’s okay.  Take each performance you get as a check-up on how you’re doing.  Be honest with yourself about what’s getting better and what needs work.  Then get back in the practice room.  Repeat this…forever.  If you do it right, you’ll get better and better while still realizing there will always be reasons to practice, and the process of learning and musical growth is neverending.

And you’ll know what I tell my students on a regular basis:

Good enough…isn’t.