Tag Archives: Improving Musical Performance

Two Things You Should Be Clear About Each Moment You Begin To Play

One of the things I emphasize when I’m coaching a musician is the importance of regularly redirecting thought whenever practicing or performing. It is this “redirecting” process that is an essential element of constructive change.

It is quite easy to fall into an autopilot frame of mind when spending any length of time with your instrument, letting yourself run on unconscious habit. Yet whenever this happens, you’re missing out on opportunities for improvement.

Each time you start a phrase, or even just begin to play a single note, you will have the greatest chance for success if you affirm and clarify two things in your consciousness:

Intention
Direction

Both of these are things that you wish for, things that you would like to have as you play.

Let’s start with intention. The way I define it, your intention is simply what you’d like to have happen musically.

Now, to be clear, intention has nothing to do directly with the mechanical aspects of executing the music, and has everything to do with how you imagine the music.

Your intention includes, but is not limited to:

What you feel, what you’d like to express, what you’d like to communicate. It’s about the meaning of the music.

How vividly you imagine your sound, including color, dynamics, articulation…even pitch.

How your imagined expression will manifest itself in time (rhythmic clarity).

The “bigger picture” of your imagined expression, the whole being greater than the sum of the parts.

How this whole will interface with the other musicians (where applicable).

The more detailed your wish is for the musical expression, the more likely your brain will speak to your muscles in an effective way to carry the wish out. As one of my students (an outstanding professional French Horn player) says:

“Let the ear lead everything else.”

You’ll notice that I didn’t mention things like “embouchure”, “breath support”, “hand position”, “fingering”, etc. These things are not part of your musical intention. They are simply things that serve your intention. These are mechanical elements, not expressive ones.

Now, of course, it is fine to have some of these “mechanical” components in your thinking as you play. Just remember that they are not part of your musical intention. Rather, they are part of your overall direction.

Your intention is nested into your direction, but your direction is primarily about how you are going to carry out your intention. It’s about how you’re planning to coordinate your entire self to realize your imagined expression.

Your direction includes, but is not limited to:

What you are doing with your head, neck, shoulders and back (letting them work together in an integrated, free way).

How you are maintaining balance (and finding support and stability).

The mobility of your joints (including your hips, knees and ankles).

Your breathing (including the mobility and freedom of your ribs).

What your eyes are doing (and your facial expression, in general).

How you attend to the mechanical details as you express the music (fingering, support, embouchure, etc.)

Even the clearest of musical intentions won’t necessarily overcome a poorly directed, overly tense, and uncoordinated effort. To optimize your chance of success, you need to see to both. Intention and direction.

A key benefit of studying the Alexander Technique is in learning to improve how you use yourself in activity. It’s about learning to consciously and constructively direct your energy to most effectively serve your intentions.

The reason a good Alexander Technique teacher is so essential to this process, is that it is possible that you might be:

Unclear about the best, most efficient and effective way to use yourself. (Unfortunately, some of this could be a result of poorly prescribed pedagogy.)

Or,

Unconscious of the habits of use (movement, posture, reaction) that are interfering with your music making intentions.

(And of course, you might be challenged by a combination of both these issues.)

The aim of the Alexander Technique is to help you clearly understand how to use yourself in accordance with your design. By consciously subtracting habits of unnecessary tension, you learn to make music with greater ease, efficiency, clarity, consistency and satisfaction.

It’s about directing your efforts to help give you what you want.

As you become clearer and more detailed about your musical intentions, along with becoming more effective at directing your effort, you’ll find that you spend less conscious energy managing the specific mechanical details (what your tongue, fingers, etc. are doing) as you play.

You’ll learn to gradually trust that your brain knows quite well how to carry out your intentions, and does so best when you leave yourself alone enough for it to happen. This allows the music to flow from you more freely and expressively.

So next time you’re practicing, see if you can notice how clear you are with your intention and your direction. If you’re like a lot of reasonably skilled musicians, you might find that your intention is sometimes muddled by too many mechanical instructions (embouchure, air support, fingering, etc.), and that your direction does not include your entire self in a constructive way.

Notice how and where you create tension as you begin to play. Notice if/how you begin to take yourself out of balance. Notice where you begin to brace yourself. Notice where your attention goes. (Does it become narrow, inward and exclusive, or expansive, multi-directional and inclusive?) Then, consider how some of these things can impact the quality of your music making.

Notice how clear you are with the details of your intention. How vividly do you hear what you’re going to play before you play it? How clear are you about the meaning of the music? How clear are you about what you wish to communicate?

It takes time, curiosity, and persistent practice to effectively couple intention with direction in this way, but it is very much worth the effort.

Start each note, each phrase, each time you begin to play, with clear intention and constructive, inclusive direction, and you’re on your way to continued improvement and greater satisfaction.

A Highly Effective (And Really Fun!) Way To Improve Your Ears

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There are so many resources available now for improving your ear, both for general musicianship, and more specifically for improvisation. One simple little device that can be immensely helpful is a drone. (I’m of course talking about a device that makes a continuous humming sound, not the aircraft.)

In the past few months, I’ve been spending a little time each day of my practice session using a drone. Besides the improvements I’ve gained in my harmonic imagination, intonation, etc., I’ve simply been having a blast playing with it, and wanted to share some of my ideas and experiences with you.

There are three main skills in which practicing with a drone will help you improve and expand upon:

Intonation
Harmonic recognition/imagination
Rhythmic imagination

Let’s look at these one at a time.

For intonation, playing long tones, melodies, overtones, etc., with a drone is far more effective than practicing with a visual tuner. Learning how to hear and respond immediately to the necessary changes in voicing is fundamental to any wind instrumentalist. (Notice that I said “hear”!)

By practicing long tones with a drone you rely completely upon your aural senses and let your brain know what to do to voice the note most effectively. It’s almost fail proof. All you have to do is play with the drone and cancel out the unpleasant waves you hear. You don’t even need to know specifically what you did physically to make the changes. Just trust your ear and your brain.

A great and really fun way to improve the accuracy of your harmonic ear (as well as to expand it!) is to practice simple improvisation explorations with a drone. By perceiving the drone as a particular point of reference, you can systematically (or randomly, if you prefer) give yourself the experience of hearing how different pitches relate to it.

Here are a few examples of how you can practice this way:

Use the drone pitch as the root of an assigned key center. For example, if your drone is a concert “C”, practice improvising simple melodies with the various tonalities of “C”: major, melodic minor, harmonic minor, Lydian, harmonic major (pentatonic scales, including major, minor and harmonic major), etc. Play around with changing key colors in your improvisation (e.g., going from major to Lydian; melodic minor to harmonic major, etc.) Listen, and enjoy, as you connect intention with aural precision.

Perceive the drone pitch as various degrees of a particular scale. So think of a “C” drone as the root, 2nd, 3rd, etc., as you improvise in a particular “C” tonality. You’ll learn to hear and imagine scale degrees in relation to your melodic statements.

Explore the drone as various altered tensions. You can do this with a scale or chord in mind. For example, you can perceive your “C” drone as the raised 11th of the key of F# major (as a B#, actually), or as the flatted 13th of an E7 chord. By playing around with these tensions this way, you’ll develop a more vivid harmonic imagination, turning “altered tensions” into an actual aural experience instead of a just a theoretical idea.

Drone over a standard song. Choose a tune that is both harmonically complex and enjoyable to improvise over, and set the drone as the tonic root note. Practicing this way will help you to really internalize the modulations found within the harmony of the song.

Have no specific key center in mind. Yes, just improvise/explore freely, noticing how certain combinations of notes work over the drone. Learn to get comfortable with (and recognize) various degrees of dissonance. Just let your mind run free and see what you discover. Or maybe make variations on a simple intervallic pattern.

Practicing with a drone can also really open up your rhythmic imagination. The constancy of the drone sound acts as a kind of support for you to push against, yet provides no specific rhythmic stimulus. At first, this can seem kind of challenging, as perhaps no kind of rhythmic movement comes immediately to mind.

But after even just a short amount of practice, you’ll find yourself imagining and playing multiple rhythmic pulses. As you spend even more time, you can explore various types of odd-metered groupings and time feels, modulating tempos and more. Practicing this way will make rhythmic variation much more available to you as you improvise.

And if you like, you can also practice with a drone and a time source (either a drum loop or metronome) at the same time. This is not only immensely helpful in opening up possibilities, but also, is very meditative, engaging and calming.

It’s not hard to get access to some good drones, these days. Here are a few resources:

I use two different smartphone/tablet apps. I have an iPad, and my favorite is RealTanpura, which simulates the four-stringed drone instrument used in Indian classical music. I like it because it has a beautiful sound, and I can change the pulsation of the drone, as well as choose various other modes (harmonic organizations), speed, pluck rate, etc.

The other app that I use from time to time is Scale-Master, which is a synthesized drone, but comes with various features that are useful, like being able to create specific intervallic drones, and a large range of frequencies.

Recently I’ve been using DroneTone, which has a sampled cello sound. Rich in overtones, it has been particularly helpful for dialing in my intonation/voicing on saxophone.

Whichever you choose, if you start daily practice with a drone, you’ll discover all kinds of new ways to think of and hear music. Your ear will improve, and you’ll have lots of satisfying, highly enjoyable playing experiences.

And if you know of, or use, an app that you think is particularly good, please let me know about it!

Strength, Coordination And Endurance: Avoiding Confusion

Playing cello and chopping wood

Yes, it does take strong shoulder girdle muscles and back muscles to play an instrument like the cello. But it doesn’t take nearly the strength to play the cello as it does to chop a pile of wood.

Yet you might find a cellist who can chop wood all afternoon and not get nearly as exhausted in his neck, back and shoulders as he would practicing cello for an hour. (I actually had one such Alexander Technique student as this.)

If you take into consideration the quote above by Herbert Spencer, the best thing a cellist can do to develop the necessary endurance to play the cello would be to, well… play the cello.

According to Spencer’s principle, it is the activity of playing the cello that builds the kind of muscular endurance specific for the task. (In exercise science, this is the training principle of specificity.)

So why does this cellist, who can chop wood all day, get fatigued so easily playing his instrument?

The answer is simple: He is coordinating himself in a way that is counterproductive to playing cello.

It is a matter of what he is doing with his entire body as he carries out his skill.

In the case of this particular musician, he was over-straightening his spine, while at the same time stiffening his neck, as he held on rigidly to his elevated shoulders.

Because of all this holding on, his arms were not free to move out of his back. His shoulders were doing way too much work, and his upper back muscles (which are very well-designed for such a task) were doing far too little. His shoulders would get painfully exhausted after just 20 or 30 minutes of playing.

You could hear it in his sound, which tended to be small and sometimes brittle.

To make a long story short, as he began to improve his coordination (through his work with the Alexander Technique), he began to improve his endurance. Just that simple.

If you find yourself constantly struggling with endurance as you play or sing, it is likely a problem of coordination. You can take any very fit and strong person, have them carry out a task in a mechanically disadvantageous enough way (poorly coordinated), and they’ll get exhausted in no time at all.

Strength and endurance

Now to be clear, strength most certainly has an impact upon endurance. But let’s also be clear about what strength and endurance are.

From a functional point of view, strength can be defined as the ability to exert force against an external resistance. Whereas, endurance is the ability to maintain low levels of force for extended periods of time.

In a well-coordinated organism, increasing muscular strength can have a marked improvement upon endurance. But for others, if these stronger muscles are not coordinated in an optimum way, there might be little to no improvement in endurance.

I’ve not yet had a musician come to me for help who has needed to “strengthen” anything, directly. They just need to rethink and re-experience kinesthetically, a more efficient coordination. This coordination comes about primarily by subtracting unnecessary, habitual tension, and the lasting changes typically develop gradually, but surely.

What you can do

So again, if you struggle with endurance, or have students who do, here are a few things to keep in mind that might help:

The test of time-If you’ve been working for more than a couple of months on a particular exercise in an attempt to address an endurance issue, and you are noticing little or no improvement, you need to change course. Adaptations in strength and endurance come relatively quickly. If you’re going on for prolonged periods without improvement, either change the exercise, or (more important!) consider that your problem is one of coordination. (This is where a good Alexander teacher can help.)

Think of the whole instead of the parts-As I mentioned above, you are using your entire self, your whole body, to play. Begin to notice where you might be unnecessarily tensing yourself or taking yourself out of balance as you play. See if you can begin to lessen the effort.

Specifity is best-If you think that you actually do need more strength to deal with certain demands of playing your instrument, aim at doing things that are as specific as possible to the task at hand. For example, daily long tone exercises on a wind instrument to strengthen the facial/embouchure muscles are much more effective than a series of “tension” exercises without the instrument (like vigorously pressing and releasing your lips and corners in multiple repetitions). Specific activity leads to optimum functional strength.

Equipment-Sometimes what is making you exhausted is simply poor equipment choices. I recently gave a Skype consultation to a very good tenor saxophonist who was struggling mightily with fatigue. It turned out that one of the biggest factors was his mouthpiece. The lay and tip opening were just not right for his anatomy and his conception of sound. When he changed to a better mouthpiece, his problem was effectively solved. Stay open-minded about your equipment. As your coordination improves, sometimes your equipment needs change (this is always a good thing!)

Health considerations-It is also possible that your issue with muscular fatigue might be of a medical nature. If you’ve tried just about everything (including my suggestions here), believe it’s not an issue of coordination, yet you still have problems and/or, your condition seems to worsen, by all means seek medical consultation. It could be a variety of issues, from neurological, to autoimmune, to orthopedic, or more. Get yourself the help you need.

So it’s fine if you want to do exercises every day to increase/maintain your endurance to play. The reason many accomplished musicians do so is because they get good results from their efforts.

But I can’t help but think about what Eddy Merckx (arguably the best racing bicyclist in the history of the sport) said when asked what the best thing a serious competitive cyclist should do to improve:

“Ride lots.”

And so it should be for us. Play lots. Improve your coordination. Enjoy the results.

New Book: Rhythmic Dissonance

One Of The Most Overlooked Elements Of Effective Sight-Reading

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One of the absolute best sight readers I’ve ever had a chance to play with (a saxophonist by the name of David Hughes) had a saying about reading even the most difficult music at sight:

Sight-reading is as much an attitude as it is a skill.

And it is.

There is a good deal of agreement amongst highly skilled sight-readers that the most important thing to address as you read music for the first time is time and rhythm.

And I agree with this wholeheartedly.

If you play a few wrong notes, but “keep it going” (maintain that forward motion of the time as expressed through rhythm) you’re not only going to help the music along, but also, you’re going to increase your chances of playing the correct pitches.

Learning from a master

I can remember playing with David Hughes, as he would single-handedly hold an entire saxophone section (of good players!) together by his sheer will and his powerful sense of time.

But there was something else that he held in his attitude that made him such an effective and highly musical sight-reader.

It wasn’t so much what he did, as it was what he didn’t do when the rest of the saxophone section was struggling with a beastly new composition:

He didn’t interfere with the flow of his sound energy.

No matter how far he was stepping into unknown territory, no matter how daunting, no matter how complex (and even unfamiliar) the rhythms, no matter how dense the ink on the paper, he simply never lost the intention nor the intensity of his sound.

The rest of us, on the other hand, would sometimes just sort of fumble with our sound, lose the strength of our intentions, lose our presence. We would do this by interfering with the production and flow of our sound as we read the music.

We four saxophonists would shrink (so to speak) while we played, as David Hughes would continue to expand.

Now, don’t misunderstand. It’s not as if the bottom would drop out of our collective dynamic volume. Truth be told, there wouldn’t be that much of a noticeable change in volume.

No, it was more subtle than that. It would be as if the life force of our individual and collective sounds just became slightly imprisoned. As if all of a sudden it had lost its suppleness and color. Our collective sound became somewhat brittle.

It was the sonic manifestation of doubt, this doubt itself being manifested through our bodies.

Of course the sad irony here is that this doubt made the wrong notes and rhythms sound even more…well, “wrong”. Our mistakes became strangely amplified, whereas any mistake David would make became virtually insignificant. A beautiful illusion, of sorts.

How about you?

And that’s how your thinking can impact your functioning in any given moment, during any activity.

Whatever you do in your body as you play music (or do anything else, for that matter), is a result of your thinking. In the case of sight-reading, it’s your response/reaction to the thought of playing the music in front of you.

Learning how to change your response to better serve your wishes is at the heart of the Alexander Technique. A large part of my work when giving Alexander lessons to musicians is to help them notice their habitual reactions from moment to moment as they play.

As they learn to respond with clearer, more constructive choices, they simply play better (and feel better, too!), as they interfere less and less with their own sound energy.

To be clear, when I’m talking about “sound energy” I’m not talking only about “airflow”, as in the case of a wind instrumentalist or singer.

I see instrumentalists of all instruments reacting in ways that interfere with their sound energy as they fall into doubt: violinists who lose their luster; pianists who lose the warmth in their touch; guitarists who lose the color and resonance of their plucked strings.

And so on.

No matter what instrument you play, there is always something that happens, when you lose your sound energy: You begin to stiffen and tense yourself unnecessarily.

Sometimes this stiffening is strong and easily noticeable, but just as often, it is subtle and almost imperceptible.

But all your habits of stiffening, whether mild or violent, have one thing in common: They are some form of you holding on to yourself. Holding onto yourself instead of letting yourself be pliant, balanced, free and constructively responsive.

In holding on to yourself like this, you are also holding on to your sound, not letting it release into the air.

This “holding on” is the essence of what interferes with your sound energy, with your intention, and with your expression as you are reading something at sight.

So what can you do to address this?

Here are a few ideas/tips for you to consider:

Observe yourself-Notice how you respond when you are sight-reading something difficult. In particular, notice what you do with your neck, shoulders and jaw. No matter what instrument you play, if you tense and compress your head into your neck, narrow your shoulders and/or clench your jaw, you’ll interfere with not only your sound, but also, your technical facility. See if you can notice this pattern of tension as it manifests itself through your whole body.

Practice saying “no”-Once you’ve noticed your habits of tension, work on gradually attenuating them. Think to yourself, “As I play, I’m not stiffening my shoulders and neck. I’m allowing myself to be free and present.”

Find your weak spots-What kinds of things make you tense up most when you sight-read? Complex rhythms? Extreme ends of your range? Awkward and/or unfamiliar keys? What are the kinds of reading challenges that invite you to “go wrong” in your reactions? Find out what they are and work systematically to improve. By doing so, you’ll weaken the temptation to react unconstructively.

Work on your sound energy everyday-No matter which instrument you play, conscious work on tone production is essential daily practice. Long tones, slow, melodic phrases, overtones, etc. Your ability to get your most resonant and expressive sound needs to become second nature, without any thought to how it is done mechanically.

Practice sight-reading everyday-As obvious as this sounds, I’m still amazed at the amount of musicians who seek my help with this who do the vast majority of their sight-reading while playing in ensembles. While this experience is excellent, spending time every day reading something new is absolutely essential, not only for your ability to read the notes, but also, so you can direct yourself in such a way as to keep your habitual tension in check. Here are some specific things you can do to improve your sight-reading.

Practice keeping your sound energy front and center as you sight-read-Besides working on long tones, etc., also practice reading simple to moderately difficult music every day as you shift your focus to your sound energy.

By noticing your response, by being intimate with your sound, and by developing strong time and rhythm, you’ll help transform you attitude and your ability as a sight reader. Instead of shrinking when you step into the unknown, you can learn to expand. I’ll leave you with another quote by sight-reader extraordinaire, David Hughes: