Remember that all of your hard work is really aimed at making it easier to get your instrument or voice to do what you want it to do. From time to time, play around with the sounds you can make – beautiful sounds, ugly sounds, funny sounds and sad sounds! Get up close and personal with your instrument (or voice) and experiment away. If you’re not enjoying playing or singing at the moment, maybe you just need to reacquaint yourself with the joy of making sound. Learning music is challenging but should also be fun and rewarding.
John Cage says, ‘Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.’
Go to concerts
Seeing a live classical music performance is insanely exciting… the nerves, the spectacle, the variety, the triumph! So why do we so often save concert-going for ‘special occasions’ or one-off experiences? It is easy to think of concerts as expensive ventures or special-occasion experiences, but this is not necessarily the case!
Google your local university music department and attend one of their (usually free) lunchtime concerts. Most professional concerts also offer discounted student tickets or last-minute ‘student rush’ tickets. Even better, have a soirée-of-sorts with your musical friends. Get an opportunity to practice performing in front of others, support your friends and be introduced to a lot of great music!
Check which WASO concerts are coming up soon.
Listen to great recordings
“Have students listen to fine performances of the pieces, even before you begin teaching it” (Glenn Riddle)
Between concerts, recitals, studies and everything else life throws at us, most of us don’t spend enough time just listening for the sake of listening.
Listening to music is not only an inherently pleasurable experience, it is also an incredibly beneficial exercise for the brain. A recent study from UC Berkeley found that listening to familiar and unfamiliar music ‘increased interaction between the nucleus accumbens and higher, cortical structures of the brain involved in pattern recognition, musical memory, and emotional processing.’ That certainly sounds convincing!
Listening to repertoire before or as you learn a piece can help to inspire you, give you ideas for your own phrasing and interpretation and allow you to see the piece from another performer’s perspective. Grab a recording of your exam repertoire from iTunes or Spotify, plug in your earphones and talk a walk outside. You never know what details you might hear!
Master the short-and-focused practice session
You don’t have to wait for a two-hour window to appear in your schedule in order to sit down with your instrument or work on your voice. Long practice sessions can be great for building stamina, but sometimes more can be achieved with multiple short sessions in which you set out to achieve one particular goal. Keep track of your goals and your targeted practice in your practice diary.
Leonard Bernstein says, ‘To achieve great things, two things are needed; a plan, and not quite enough time.’
A recording device may be one of the most effective practice tools and most students just aren’t using one regularly. There is no need for fancy gear, microphones or studio set-up; recording is for personal use only! Your smartphone, tablet, laptop or handheld digital recorder will work just fine.
Recording yourself puts you in the teacher’s or examiner’s chair, helping you to listen critically to your own playing. How would you rate your pitch, articulation, phrasing, tone quality and overall performance? Make a conscious change to your performance, record and evaluate again. As musicians, there is often a significant disconnect between what we feel we are creating and what we actually produce on our instruments. Recording is an important reality check and benchmark and the best tool for students who are eager to see practice results first-hand – even if it is a little scary at first!
We all have memories of that time we were playing around on our instrument, came up with a brilliant riff, never wrote it down and learned the true meaning of regret. Are you the next Brahms? Maybe not. Do you have great ideas that other people might like to hear? Absolutely. Keep a pencil and a manuscript pad with you while you practice.
Ideas don’t often strike out of the blue like a bolt of lightning (especially in this drought-ridden country!) – so write them down if they do! Then you can spend some time working them into something more substantial through ongoing exploration and experimentation. Working on your own musical ideas can also be a great way of really engaging with the sound that you are making, sparking musical ideas for your other repertoire.
Clara Schumann says, ‘There is nothing greater than the joy of composing something oneself and then listening to it.’
Don’t separate theory from repertoire
Time’s up! Another lesson or practice session has come to an end and, alas, there was no time for theory. Don’t sweat it! Make musical theory a part of your everyday practice and lessons. Stop playing briefly and analyse one passage of your sonata. Grab your smartphone and check that you know all the definitions for the Italian terms in your piece. Play on and ask yourself ‘what key am I in? What relationship is this key to the original key?’
Spend a lot of time online? (Answer: ‘Yes!’) Sacrifice just 10 minutes of precious internet browsing time to do a lesson or a test from an online theory course once a week. You’ll be a theory guru in no time.
Look at all the free theory downloads you can get from Blitzbooks!
Sight read often
Believe it or not, sight reading can be fun. Not convinced? Dig out your old music books from a year or two ago and try playing through a few of the pieces you didn’t learn at the time. Not only is this good sight reading practice, it’s a good way to keep playing during the holidays. PLUS you’ll learn new repertoire that you might enjoy AND you’ll give yourself a confidence boost by sight reading music you once thought was impossible.
Renoir: Girls at the piano
From an AMEB post