Progress

I have recently come to a new realization about myself. And across the board of my life. The issue isn't new, but the realization of it is.

I like to chart progress. I like to know where I am on the spectrum of moving forward (or backwards?). I want to know how far I've come and how far I have to go until I get "there," wherever that is. In many cases, this is not necessarily a bad thing, but when I dig a little deeper, I find the ugly root of this desire. And yes, this root issue is a bad thing.

An example: I am working up a new percussion solo that is quite difficult and takes a lot of time and practice to learn. As I work through the piece, note by note, measure by measure, I keep looking down to the bottom of the page to see how far I have till the end of the page, then I flip through the next couple pages to see what they are like.


How far until the end of the piece? Let's see...I am almost to letter B...okay, I am exactly 3 17ths through the piece. Sweet.

But I can get so caught up in charting how far I am and how much I have done that I lose track of what I am supposed to be focusing on––learning the piece!

And as I mentioned, when I really think about what drives this behavior, I see a problem. The problem is that I want that feeling of accomplishment before it's really time. I want the result without the work. I want the trophy before I have earned it.

But the neat thing I'm learning is that when you simply focus on exactly what you're supposed to focus on, and not worry so much about how awesome you are or aren't, and keep plugging away at the right things, a time will come, not manufactured, but as a natural result of your commitment, when you can begin to see real progress. It might be several weeks or months. It might be a year or more. But the reward of seeing genuine progress is rich. It certainly beats the fabricated feeling of success for completing a measure of music.

The use of technology in practice

Many readers may already make use of some or all of the ideas mentioned below, but I thought I would share a few uses of technology that have aided me in practice and preparation for performance.

Audio recording - DUH. This is an obvious one. But surprisingly underused (admittedly by myself, too!). The feedback provided by the objective, unbiased recording device can be very humbling. As one of my teachers put it, "If you think you're having a good day in the practice room [and your head is getting big], record yourself playing." Audio recording is useful in improvisation; it can help you remember the bits and pieces that you liked best so you can use them in the future. Recording also provides a means for tracking progress and archiving past performances.

Good recording devices (all available at Sweetwater):
   - Zoom H4n (~$300)
   - Zoom H1 (~$100)
   - Zoom Q3 (audio + video, ~$200)
   - TASCAM DR-3 (~$80)

Video recording - Similar benefits to audio recording. Also offers a view of what the audience will see. You can use video to focus in on technical skills (How do my hands look? How about the motion of my arms? Do I look relaxed?). Another benefit of both video and audio recording is the added sense of performance. It's like someone else is listening once you hit RECORD. I have found this to be quite valuable in the long run. Even if you never watch the video you took (you should watch it!), there is still the benefit of an added sense of pressure during practice.

Audio software - Software that can speed up or slow down music. Software that can loop segments, combine independent chunks of music, or add a metronome to a recording to aid in practicing. With my drum corps background, and continued teaching experience in the marching activity, I recognize the importance of many many reps. Loop it. Over and over again. So I occasionally make use of audio software to slow down a segment and loop it. The computer plays the recording again and again while I run 20 or 30 reps of that chunk until I get it. (Or until my neighbors starting banging on the walls. Just kidding. That hasn't happened. Yet.) Making use of such software is especially helpful in preparation of concerti (if you have a recording), rep with electronic accompaniment, and orchestral excerpts, though I'm sure there are other great uses.

Good software to use for this type of work:
   - Audacity (free)
   - Amazing Slow Downer (This is great for slowing down AND setting up loops, ~$30)
   - Garage Band (comes with all Mac computers)

Notation software/playback - An example of this is a project I'm working on right now. I'm preparing a duet concert with a friend who lives in a different state, so one way we can practice is to input both parts into a notation program (in my case, Sibelius) and create audio files of each part from the MIDI playback. I send him my part to practice with, and I listen to his part when I practice. It's like a virtual duet partner. Now, there are some limitations here, but with the quality sample libraries available, one can create a pretty good quality recording that is still quite helpful. Another use of notation software is simply to create some sort of recording of a piece of which you can't find a recording (or one doesn't exist, as in the case of a new work). Though it can be time consuming to input an entire piece, it might be worth it. Or maybe only a segment of a work needs to be inputted for playback.

Video sharing websites - Such as YouTube and Vimeo. These are good for checking out what other folks are doing as well as sharing video of yourself, if you so desire. (Word of caution: I do not recommend posting video of a "work in progress" or work that is not your best. No one really wants to watch a video and read all the excuses of how you're still working on it, and your dog ate the 3rd page of music so that's why you missed all the notes on that page, etc..) These can be valuable tools if used well.

While I am sure there are other ways to use technology to aid in practicing, these are a great start. Please send me thoughts if you have other creative ways to use technology and I'll post them!

Beyond Basic Percussion

Have you ever been teaching a percussion ensemble or working with a student and one of these happens?

• The kid playing the chimes is facing the back of the room because he didn't know where to put the music stand.
• A student with a multiple-drum setup is doing a crossover concerto because he didn't understand the best way to set up the drums in a way that allows for the easiest sticking and drum-to-drum motion.
• In order to switch from drumsticks to yarn mallets in a short amount of time, your student drops the sticks on the drum in front of her (making unwanted noise) and bends over to pick up her mallets off the floor. Then, of course, she missed her entrance.
• You notice that the guy on the bass drum part has no idea how and when to muffle the instrument properly, even though the music indicates muffling.

In fact, you may easily recall a time when you yourself might have been in such a situation as a student. For several (understandable) reasons, I believe that many young percussionists are not taught some of the most basic principles in playing percussion, especially those that go beyond just playing the right note at the right time. And quality instruction on instruments other than snare drum and mallets is easily overlooked or completely absent.

Think about what instruments are called for so much of the time in band, orchestra, and percussion ensemble literature – accessory instruments! And think about how often students are asked to play 2 or 3 (or more) instruments in a piece. Think about how often percussionists ("drummers") are looked at as unmusical. Just the kids in the back that bang on things.

Well, fortunately percussionists/band directors Eric Rath and Ralph Hicks have thought about these things. And they have also come up with some helpful solutions in their new book Beyond Basic Percussion (Tapspace Publications). They composed several pieces that address so many of the neglected issues facing developing percussionists (and their band directors). It's useful for non-percussionist teachers as well as those who are percussionists. Here's an intro video by the authors, and you can click the link above to read more about it. 

(Note: I have no personal interest vested in this project, just think it's a great idea!)

Iced In

If you're like me and you're stuck at home today (and probably tomorrow) because of snow and/or ice, then why not find some ways to make good use of the time?

• Read a book about entrepreneurship, music business, marketing, or personal finance. (Click here for suggestions.)
• Catch up on some good blogs 
• Seth Godin
• The Savvy Musician
• Artists House Music
• Sequenza21
• Practice whatever you can practice at home.
• Write out a 1-year plan for your career.
• If you are not a composer, try writing some music, maybe for the first time! Or if you're not a musician, attempt some sort of creative output – poetry, drawing, painting, blog, letter to a friend.
• Create a budget. (Click here for help getting started.)
• Start your taxes.
• Go over that budget you just created and try to work in a vacation to a WARM LOCATION!

(Okay, just kidding on the last one. Sort of.)