1. Find a new piece of music to work on, a piece of which you have never played a single note.
2. Before looking at this piece for the first time, assess your practice technique.
3. Listen to the piece, score in front of you (if possible), regardless of whether you have never heard the piece before or you have heard it more times than you can count.
For all three of the above mentioned guidelines, your flute, or whatever instrument you play, should still be stowed safely in its case. That's right. Don't even touch the instrument. Bad habits are far more easily attained than good ones. The best way to fight off bad habits is not to touch your instrument until you've put some good thought into how to go about working on the piece.
So, now that I've brought up the elephant in the room, how do you practice? Here, my good friend and fellow flutist, Katie Smyth, discusses one method. And this lovely post is why I am here today writing the post I am writing.
What really stood out to me from the second link is the following:
1. The set-up: The students were given the music, a metronome, and a pencil. A metronome and a pencil...
2. The time of practice varied from 8.5 to 57 minutes. Hmmm.
3. Some of the mentioned practice techniques from the top 8 practicers:
- "Practice was thoughtful, as evidenced by silent pauses while looking at the music, singing/humming, making notes on the page, or expressing verbal “ah-ha”s."
- "Errors were preempted by stopping in anticipation of mistakes. Errors were addressed immediately when they appeared."
- "The precise location and source of each error was identified accurately, rehearsed, and corrected."
and finally...
- "The number of times they played it correctly in practice...had no bearing on their ranking...What did matter was home many times they played it incorrectly. The more times they played it incorrectly, the worse their ranking..."
You really should read the whole post, it is quite good,but here are my takeaways. Practicing doesn't have to be an all day nightmare affair. If you are smart, you can get a lot accomplished in, say, 8 and a half minutes. Studying the music before you play it is important. It not only gives you the bigger picture, as in where your part fits in with everything else, but it also can help you identify the tricky parts you will probably spend most of your practice time working through. You really shouldn't, at any point, just run through the piece over and over and over again. Most likely, that will lead you to many bad habits.
Instead, isolate problem areas before they occur. Discover what sort of technical issue you experience: fingerings, tonguing, vibrato/tone quality, breathing (if you are a wind instrument in particular), or dynamic. Here are practice tips I know I have given before, but let me do it again because as a mother and a teacher I will spend my entire life repeating the same things over and over and over again.
1. Have a pencil with you. Mark in anything that you need to, including accidentals. If you missed the note more than once, just mark it in.
2. Practice with a metronome. Practice way under tempo. If you can play it perfectly slowly, you have an infinitely higher chance of playing it at tempo perfectly. Slow practice is everything.
3. If you are having a fingering issue that slow practice doesn't cure, use rhythms (remember from practicing scales for district and state? I'll post it again.), loops, anything that takes the measure or even one beat out of context so that you can clean up and finesse the part. 4. Only practice one given problem at a time and for a maximum of 10 minutes at a time (or even a day). Let's pretend that you have five problem areas. Now think about it. If each problem area was isolated and received 10 minutes of intensive care, you'd get a lot of work done in under an hour. An hour! Not 4 or 5 hours of making the same mistakes as you repeatedly do meager run-throughs of the piece.
5. If you are having an air support, or tone clarity problem, get rid of the vibrato in the practice room.
6. Need to work on double or triple tonguing? Then do that. Don't continue to hammer away at a passage your tonguing isn't ready for. Single, double, and triple tongue scales during your warm up. Flip the double or triple tonguing to engage the back half of the technique ( KTKTKTKT instead of TKTKTKTK). Ever play a scale with just the back half (KKKKK)? It's miserable, but it makes you better.
7. Listen to the music! Honestly, it might be better to spend more time listening to someone play it correctly than you spend playing it yourself. Also consider listening to, not just the piece you are working on, but other pieces by the same composer and works of other composers from the same period. This will deepen your understanding of the composer's composition technique and it will make you aware of the proper playing styles/practices.
Learning how to practice well, efficiently, and successfully can take years to master, but once it's done, the results speak for themselves.
Back to my challenge, care to try it? Want to take it further? I had an amazing musician, conductor, and educator once suggest that I listen to and study a score for at least three months before I played a single note. To this day, I haven't been able to wait that long. But I'll do it if you do it with me. What do you say? Come on, jump in the pool with me! It will be fun, and you'll be the better for it.
