Removing barriers to musical freedom...with nail polish remover!

I'm on an unending quest to uncover freedom and ease of movement when I play. How do we find the physical and mental freedom to uncover and enjoy musical freedom? This post will recap the latest discovery that I experienced.

I had a COA completed on my flute recently and while the work done was fabulous, the technician took my nail polish off! I had a strip of polish on the barrel and on my headjoint so that I could easily assemble the flute and know that the headjoint was in the correct position. The nail polish was a prop that once removed, moved me along in my discovery process. Initially, I wasn't so happy about this.

Although I know where the headjoint "feels" good and had marked it with the nail polish, I had to experiment a lot with rolling in and out to find the best place for a sound I liked. As I did this, I had good tone days and bad ones. I also noticed some stiffness and tightening in my neck muscles as I experimented but the reason for this wasn't completely clear. I stopped playing each time I noticed my neck stiffening up.

On one particularly good day, I looked in my mirror as I played and noticed that my keys had rolled back and I hadn't even noticed. What element dominated my awareness so much that I wasn't aware of my hands rolling the flute in?

In a recent Body Mapping lesson with Lea Pearson, she noticed that I appeared to be lacking freedom at my A-O joint when I played. For perhaps the first time ever (now that I was aware of it!), I experienced a free A-O joint during that lesson. What I didn't think about at the time was the connection of embouchure to hand position, the source of my latest discovery.

From wikipedia.org

Flutists, like singers, become mesmerized by their sound and a good sound day is fantastic and a bad sound day can make you feel like the world should end. Locking in to the sound and setting to hang on to that sound can create physical changes in the body like muscle tension. It can also diminish our inclusive awareness.

Music is sound, but when we lose awareness of the elements that create the sound, we run into trouble. Our sound is connected to our embouchure which is connected to our hand position. Our entire bodies are connected to the sound. Resonating chambers inside the body (chest, mouth, nasal passages, sinus cavities, etc.) impact a flute's sound just like a singer.

What I experienced in the practice room is locking up even in just one part of the body can impact your sound and cause automatic adjustments to occur (such as rolling the keys in). If we bring the flute to our lips with awareness of the A-O joint and we immediately settle and lock into the sound, we're restricting access to that place of balance and impeding whole body balance.

While the headjoint position felt correct, I was not able to maintain the comfortable angle to produce a good sound across the low, middle and high registers. My hands then became involved in the correction process. Losing freedom at the A-O joint created tension which I was able to feel. My discovery reminded me of how losing awareness of the A-O joint made finding a good sound more difficult. This led to the adjusting which I noticed only when I looked in the mirror.

I am on a mission to find freedom at my A-O joint (and always putting discoveries within the context of the whole). I am reading and researching to find the freedom necessary to connect a free and flexible embouchure to a balanced hand position that supports the flute but also allows me technical facility. Consistent practice is the first step in this process, which I'll write about next.

When you find a good sound, trust it (don't be afraid!). Let awareness of your A-O joint enter into your inclusive attention and let it rest there as part of your sound awareness. Remember that the A-O joint is a place of balance in the body. If we lose awareness or we lock ourselves into a "proper playing position" to keep a good sound, we will go out of balance in other places of the body.

The hands and mouth are two parts of the body flutists may take for granted and link to good sound production, but what would happen if you included them in the whole? Effective practice sessions can help us keep removing the barriers to musical freedom.

NFA Recap: my 48 hours in Vegas!

It's hard to believe that less than two weeks ago, I gave my presentation at the NFA convention in Las Vegas. Since then, my days have been a whirlwind of travel and moving that has made it difficult to keep track. I thoroughly enjoyed my time at NFA. I wanted to meet so many people and attend as many events as I could while also making time for fun. Here's a brief recap of the events I attended:

I started the convention by briefly listening in on the High School Soloist Finals. I was able to listen outside the door to one finalist, and sat in the room to hear another. The level of playing was fantastic. I especially enjoyed the commissioned piece for the competition, The Black Swan by Leanna Primiani. This addition to the repertoire is very accessible while still including some extended techniques.

The other competition I was able to attend was the Piccolo Artist Competition semi-finals. I helped with this event, but I sat in long enough to watch eventual winner Zach Galatis perform. His first piece, the Allegro from Vivaldi's Concerto in C Major, was a delight to watch. Zach played with an ease that was very musical and inspiring.

I also attended the Graduate Research Competition winner Elizabeth Robinson's presentation on the solo flute works of Takemitsu. I have Itinerant and Voice in my library, but have not yet learned them. I was fascinated to hear Elizabeth break the pieces down based on theory and Takemitsu's own philosophy so that the pieces (at least, to me) are less intimidating.

The last presentation I attended on Thursday was Bonnie Blanchard's Jump-Start your Teaching and Get Paid What You're Worth! Blanchard has written two books that are excellent reference guides if you have a teaching studio. The presentation was intended to introduce people to the books so as someone looking for new nuggets of information, I was a little disappointed but given this was my first convention, this was a lesson learned for subsequent presentations.

I visited the exhibit hall for the first time on Thursday afternoon. My intent was to try a lot of flutes, but I only tried Mancke headjoints. My friend and fellow Andover Educator trainee Melanie Sever was helping at the booth, and she guided me through some choices to try. My favorite was a sterling silver head with a platinum riser and 14K gold crown. I tried the wooden headjoints as well as some of the metal ones and each one played well. My favorite one felt the most like my David Williams headjoint.

The Palazzo!

I tweeted up with a lot of people on Thursday. I met Cory Tiffin, Meerenai Shim, Megan Lanz, Jennifer Grim, Nicole Camacho, Fluter Scooter, Viviana Guzman and Daniel Dorff. These are all people I've interacted with regularly on social media, so meeting them in the flesh was quite exciting!

On Friday, I began the day with my presentation, Holistic Practice: Practicing for the Whole Musician. I had a full room which was awesome. It was the first time I had witnessed first hand how hungry flutists are for information about the body. Given how well the presentation went and the number of people that signed up for the slideshow and resource list, I felt like this was a confirmation that I am doing what I'm meant to and that was well worth the craziness to make it to the convention.

Fluter Scooter was my volunteer!

Later that morning, I attended Phyllis Louke's Begin with Excellence. I use the Flute 101, 102 method series that she co-wrote with Patricia George in my own teaching studio, so I was excited to meet Phyllis for the first time. I got some interesting tidbits in this presentation to try in my own teaching.

Continuing along a pedagogy focus, I attended part of FUNdamentals!, a participatory workshop led by Cassandra Rondinelli Eisenreich, Julie Hobbs and licensed Andover Educator Kelly Mollnow Wilson. The games and exercises presented were fun and interesting. I hope to be able to access the information on NFA's website when they post the handouts.

Jim Walker as Dean Martin with Marilyn Monroe

Cirque de la Flute was next on the agenda. This was an interesting networking idea that placed people in groups by interest and let people meet one another while being entertained with a variety of acts escorted by various NFA personalities in costume. The group that I chose included the "non-flutists" at the convention, and Nancy Toff's mother, Ruth, was in attendance. It was a delight to meet her and hear some stories about her daughter.

The next event I attended was the Open Amateur Masterclass led by Lisa Garner Santa who teaches at Texas Tech University. Lisa is very movement oriented, and I did a quick google search to see that she is a certified yoga teacher. When she incorporated movement into her instruction with the participants, their playing noticeably changed.

The final event I attended of the convention was a concert highlighting short pieces from a variety of performers. My sponsoring teacher for my Andover Educator training, Amy Likar, was on the program. Unfortunately, the program went longer than scheduled and I had to leave prior to seeing her perform. The program included two world premieres. Alba Potes' Evening Conversations for two bass flutes and Russel Scarbrough's Cylindrical Sea for flute and clarinet.

Since returning home and reflecting on my trip, I feel like I didn't particularly plan my convention experience well but I think that it's a result of the immense number of things on the schedule. There is something for everyone. The only thing I'll do differently next time is choose presentations on topics I'm not very familiar with since most seemed to be introductory in nature. It was disappointing to miss the last two days of the convention, but I did well for just 48 hours in Vegas!

Free the arms, free the sound

I began making some discoveries and in turn, deepening my experiential understanding of my arms while at Summerflute. The beauty of Body Mapping is that as you study and integrate the information, you begin to realize how interconnected all the parts of the body are, and inclusive awareness becomes easier and you really begin to understand the concept of gestalt as Barbara Conable calls it in the first hour of What Every Musician Needs to Know about the Body.

I've been thinking a lot about how my tendency to thrust my hips and pelvis forward ("hip magnet") when I bring my flute up is related to my head (A-O joint balance), neck and arms. Earlier this week, while I was letting curiosity guide me, I stumbled upon a discovery about my arm structure that has helped me feel this relationship on a deeper level. For information on the arm structure before you continue reading, read Lea Pearson's Flute Focus article on safeguarding the hands.

I hadn't practiced for a few days, so I came to the flute with low expectations. I wanted to be kind to myself. I played through some warm-ups in The Physical Flute and a few Tone Development through Interpretation melodies, and that was it. I wasn't particularly pleased with my sound, but my goal in the practice session was to find ease. If I didn't sound the way I wanted, what was interfering with my ease? My practice session ended as an open ended question, but I was happy that I let myself accept that time and I was excited to return.

The next day, I came back to the flute with the same patient curiosity. Since I'm in the middle of moving, I had finally moved my large pool noodle up to my music room to pack it with the rest of my gear. I was playing, glanced at it and decided to put it under my left arm and continue playing. There is a lot of space between the upper arm and the rib cage, but often times we flutists minimize the space we have by squeezing the arm into the body.

I chose to explore with the pool noodle to find a place of no work for my arms. The flute weighs so little, yet I struggle to find the place where I can find the greatest freedom. The noodle lets the muscles relax while it takes on the work, and thus helps the muscles of the upper arm relax and open. What happened after this experience was an instant change in my sound. Right away, the sound felt easier when I removed the noodle.

This was a huge discovery for me because I've been having tendinitis symptoms resurface in my right arm. Since I haven't been practicing large amounts recently, I know that stress and excess computer time is playing a large role in the painful inflammation in my right arm; however, since I've been using the noodle, the pain has subsided. Discovering the place of no work in my arms with the pool noodles gives me a method of self care away from the instrument so that I can reprogram the muscles so that they don't engage and overwork as I hold the flute.

The September issue of Yoga Journal also included an article on Down Dog. The article covers the subtle aspects of the pose, and I noted with interest that it began with Child's Pose so that one could first draw awareness to the shoulders. I read the article and decided, "Why not go into child's pose before I begin playing?" Another aspect that resonated with me at Summerflute was the idea of expanding across the back, but it didn't click for me in a way that I could feel. I got into child's pose, and yes, the muscles were tight; however, I held the pose for a few breaths, came up and then played and I had even more freedom in my sound!

Here are a few questions to ask yourself as you begin your practicing and warm up mind, body and instrument:

• Do you find you have a stuffy sound today?
• Have you noticed your arms?
• Are you working too much to hold the flute up?
• Do you feel expansiveness in your back, or does that part of your body feel closed off?
• When you try to picture a part of your body, does it feel blurry or can you clearly define the area?

Here are additional resources to help free your arms:

Lea Pearson's Hooking it Up: Getting Arms Connected
Lea Pearson's Noodle Notes

Free arms are one of the keys to effortless playing, and one of our places of balance is the arm structure suspended over the ribs. I read a lot of material about the body. I know the information intellectually, and I can explain it to others; however, integrating the information into a internal experience is a lifelong process. My account above is a description of a single discovery. As with music, changing my body map is a process grounded in consistency and repeated exposure to the information.

I love being able to reinforce the change with my instrument. If I feel at ease playing, then I know I've just done something right. My body has become my teacher.

Summerflute Thoughts, Part One

Summerflute 2012

Last week, I attended Summerflute at the beautiful Schwob School of Music on the campus of Columbus State University in Columbus, GA. The course was a week long immersion in the somatic fields of Body Mapping, Alexander Technique and Feldenkrais while integrating the work into musical performance. Amy Likar taught What Every Musician Needs to Know about the Body (the Body Mapping course I am training to teach), Adam Cole taught Feldenkrais Awareness through Movement (ATM) classes, Laury Christie taught group Alexander Technique classes and Meerenai Shim was available for private Body Mapping lessons and also held the entire week together with her organizational prowess. Finnish flutist Liisa Ruoho taught 12 performers through the course of the week in daily 3 hour masterclasses.

I attended as a performer so that I could have the opportunity to play for Liisa Ruoho. Liisa teaches at the Sibelius Academy, and is a licensed Andover Educator. I first read about Liisa when she was mentioned in Lea Pearson's book Body Mapping for Flutists. Liisa is a licensed Andover Educator, and her way of incorporating the Body Mapping information into her teaching is astounding. Her teaching is so integrated that it never feels you are focusing on just the body or the instrument. Body and instrument are one. For someone like me who is too intellectual in their playing, being exposed to this style of teaching was very beneficial.


I will spend the next two weeks describing my experience at Summerflute via the three times I performed during the week, and how the somatic immersion really changed my playing in the course of 5 days. The course confirmed for me that I am on the right track with my Andover Educator training. The immersion also paved the path forward for continued progress and integration.


So stay tuned for Part Two as I describe my first performance with Liisa.

The Metronome: to be or not to be?

A simple tweet by Erica Sipes last week, “Something I find myself saying a lot these days: Metronomes are not a substitute for counting out loud. It's that simple.” morphed into a full discussion of how to use the metronome (and how not to use it) that left everyone involved a little smarter and inspired to expand our tweets into a larger commentary.

I thought Erica’s tweet was interesting and responded by asking her about wind and brass players who can’t do this when they’re playing. In my studio, I emphasize the importance of the metronome to my students (especially my younger ones) in order to highlight its purpose as a practice tool in order to help you develop an internal and accurate sense of rhythmic pulse.

I have students that take right to the metronome and those who don’t (and even those who don't take to it still manage to have a decent sense of rhythmic pulse). I had consistent problems with rhythm as a student myself until my 10th grade year of high school. My private teacher made rhythm a math problem, and it all made sense. Students who are strong in math will understand this and will grasp the concept easily, but there are students who will not understand. Describing rhythms and time signatures like a math problem or equation that must be figured out will be as abstract as the abstract music notation system in front of them. So how do we help those students?

When rhythm is a specific issue the student is dealing with, I take away the instrument. Regardless of the issue a student is having with a particular skill or element of a piece, isolating the element and prioritizing and focusing on the issue at hand is essential to mindful practicing in order to fix the problem. For my young students, one of the first ways I teach them to practice is a series of steps for their one line exercises. They first count and clap the passage, then clap alone and then they try the line on their instrument. Another element that I add is to begin having the students extract measures they still have issues with. The more isolated we can make the problem, the easier it will be inserting back into the whole and the student will begin actively listening to themselves and will be able to identify areas that need improvement.

Given that practicing isn’t something that is really taught, it’s my goal as a teacher to change this. I make sure that when I offer suggestions to a student in their lesson that I make clear that I am making helpful practice method suggestions to them. No one is going to learn a piece well by playing it over and over until they have just the notes and rhythms down. What about tempo? What about phrasing? What about the structure? These are all skills students will learn over time if they stay with their instrument, but the metronome gets us back to the foundational building block of rhythm on which these other elements can then be added.

As a teacher, don’t be afraid to not use the metronome. Let the student develop their sense of rhythm naturally and when they’re ready (this was my favorite suggestion from @DLP_DSM (Discover Learn and Play), introduce the metronome back into lessons. If you feel like you can’t do this, read and research (neuroscience research about learning is my favorite reading related to figuring out how to help a student) until you feel you have enough strategies available to be able to help a student develop an internal pulse prior to aligning that natural pulse with a metronome.

Music on the page is a way of organizing various complex elements together in a way that makes sense. The metronome is simply a tool and should not be used as an absolute. Be mindful in your teaching and help your students discover for themselves the power of this tool and how it can help them. Most of all, be patient and give your students the freedom they need to explore and develop into fine musicians.

For those others who were involved in this discussion, please read their pieces below:

Erica Sipes/@ericasipes Bowing to the Mighty Metronome?

Janet Bordeaux/@janetbxyz Metronome: Monster or Friend?

Eugene Cantera/@DLP_DSM #musiced, twitter, and the metronome

Kim Hickey/@hickey_kim Metronome - Friend or Foe?

The Stages of Practice: the Taper

Remember my Practice like you Train post last summer?

With my Philly gig coming up in a couple of weeks, I'm quickly approaching my taper which is something I didn't mention in my previous post. In addition to varying your weekly practice into different types of "runs," consider the training stages as well.

In the winter, a lot of runners take time off from training and either build their base mileage (their foundational weekly mileage level) or run their current base mileage at a slower pace. Now that we're less than a week away from spring, a lot of runners I know are in training for their spring races. Training usually consists of easy runs, speedwork and long runs. At the end of training, runners go into a taper. They back off on their mileage and rest in between easy miles.

What does this mean to us as musicians, especially when learning a new recital program?

First off, I haven't prepared a full recital program since my college days. I've caught myself gravitating towards the way I used to prepare in college. It was focused and one-dimensional and I had successful recitals, but I'm curious to see how much more efficient I can make my practicing while incorporating all the other stuff I've learned since then with a full program.

I have found that the more into the "zone" (super focused, worried about technical aspects of the instrument, less self-aware) I get, the more self-doubt creeps in. I don't like this because it leaves me feeling tense and anxious.

Instead, I'm working for a few more days on the music on specific spots and then it will be a process of looking at the whole and really feeling the music flow. What do I want to communicate when I get on the stage on March 31? What is it that I have to say with the music I've chosen?

I'm finding myself doing a lot of listening and assimilating and not so much playing right now. Mental practicing has been especially useful and effective, too.

It feels good to reach this point of preparation and feel secure in the work that I've done. I'm increasingly excited to finally share myself with the world in my own self-produced show.

Listening to your body and mind during the stages of preparation for any performance is crucial for success. Trust that you can move to the next stage of your practice and have the faith to let go in order to freely give your music to the world.

Karg Elert Caprice #1: Finger breaths and finding your effortless sweet spot

Here is my first podcast! One of the ideas I have toyed with is either live streaming my practice or figuring out a way to share some of my practice time with you to see how I do what I do. I have decided to go the podcasting route because I'm able to play and narrate my session. These episodes will have a stream of consciousness quality to them, so expect lots of "uhhhhs" as I articulate my thoughts.

Inspired by two pianists' work on the web, Erica Sipes and her current Pittsburgh Concerto Competition project and Jocelyn Swigger's Chopin etude podcast series, here is my first episode about the 1st of the 30 Karg-Elert Caprices. Since these studies get more difficult as they progress, I thought this would be a worthy project to take on. I've been wanting to study these in depth, but it's been a stop and go effort on my part. I'm hoping this podcast series will keep me accountable.

In today's episode, I talk about using finger breaths to determine the minimum level of effort you can play with to create dynamic contrast. After I finished recording and listened to my playing, I realized that there's very little contrast in my playing upon this initial performance. Being aware kinesthetically, I felt a difference in effort when I played forte passages compared to piano passages but there was no audible difference. This is something I will practice in not only the Karg Elert but also in my recital program repertoire. My plan is to re-record this first study over the weekend and hopefully have more convincing dynamic contrast.

Also, please check out Sensory Tune-Ups, Kay Hooper's book that I reference. It's a great resource to help you develop multi-sensory awareness and it gives you a place to record your observations as you explore.

Listen to this episode

Part Two: "...but I practiced!" A technique practice strategy

In Part One, I discussed strategies for learning a new piece especially if you’re a very detail oriented person. The suggested strategies should help you maintain the overall feel of a piece while working.

In Part Two, I want to discuss a technique practice strategy that B and I devised for them to cover more material while regularly rotating through every major and minor key. This is particularly useful for adults, amateurs and professional alike, who may be squeezed for time to cover everything. I tend to practice technique largely in only the areas I feel need attention. I do try to get through a larger technique practice once a week (a la Practice Like you Train), but sometimes I just don’t have this time. This strategy is a four week cycle, allowing you to visit all your go-to technical exercises once a month while rotating through all keys once a week.

The books B is using are The Flute Scale Book by Patricia George and Phyllis Louke, Marquarre Daily Exercises for the Flute, and the classic Taffanel and Gaubert 17 Big Daily Finger Exercises for the Flute. Since the Flute Scale Book is founded on the Taffanel and Gaubert, most of the work can be done from the Flute Scale Book. In the plan below, I will notate both the Flute Scale Book exercise title and the corresponding Taffanel and Gaubert exercise.

First, decide what you want your material to consist of. You may have a goal of getting through the practice plans listed in the Flute Scale Book or you may want to devise a strategy for getting through all of the Marquerre exercises. The point of this strategy is to devise a plan that will help you achieve your goal. This works because it’s breaking a long term goal into smaller manageable bits. The key to this plan is consistency. You won’t get bored practicing the same things everyday while you’re building or maintaining a strong technical foundation.

There are infinite possibilities when working with E.J. 4 (corresponding Tone Color Scales in the Flute Scale Book) so I keep these scales as a constant every week while rotating through the keys. This sample plan is good for an amateur flutist who only has 10-15 minutes a day to work on technique. This is based on a 6 day practice schedule, practicing 2 major/minor key pairings a day with varied articulations.

If you're more advanced, please adapt to fit your time constraints technical areas of weakness. Please feel free to share other plans based on your material. I’d love to see them!

Week 1:
Flute Scale Book Tone Color Scales (T&G E.J. 4)
FSB Ascending and descending arpeggios (T&G E.J. 8 and 9)
Marquarre Exercises 1 and 2

Week 2:
Tone color scales
Scales in thirds (T&G E.J. 6)
Marquarre Exercises 3 and 4

Week 3:
Tone color scales
Broken arpeggios (T&G E.J. 11)
Marquarre Exercises 5 and 6

Week 4:
Tone color scales
Modal scales in 3rds and 6ths, flats on MWF, sharps on TRS (T&G E.J. 6, played in 6 note chunks)
Marquarre Exercise 7

*For more suggestions on technique books, read Flute Warm Ups

How I warmed up with a phrasing study and a coffee stirrer

I took some time to read the February 2012 issue of Flute Talk over the weekend. I was overjoyed to see Phyllis Louke recap a class (“A Fresh Look at Breathing, Tone, Articulation and Dynamics”) that Keith Underwood gave in Oregon recently. After reading this article and Patricia George’s Phrasing Study on Barret Melody No. 1, I was ready to play with a hefty dose of motivation.

The Barret melody looked vaguely familiar. I pulled one of my old copies of Mrs. George’s Flute Spa handouts (I have handouts from 2002 and 2003 when I studied with her) and there she had included first four of Barret’s Forty Progressive Melodies. I credit Mrs. George for teaching me so many of the phrasing ideas that now have become second nature to me. I felt inspired to explore these melodies again so the phrasing study and a coffee stirrer became my warm-up.

The week I spent with Keith at Ghost Ranch became a week with the coffee stirrer. This is a great way to figure out where you are placing articulations inside the mouth. It also encourages you to open up behind the embouchure rather than moving your jaw and lips with every note. Using the coffee stirrer to practice tricky rhythms and articulations maintains the most efficient embouchure so that you do not overshoot the notes. It’s a great, inexpensive tool to improve your tone, breath control and articulations.

In order to practice on the coffee stirrer, place the stirrer inside the mouth (with the tip above the top teeth) at a 45 degree angle. Blow into the stirrer, take the air back and play. The challenge is to take in your air through the coffee stirrer when you need a breath. Since the stirrer doesn’t change size, practicing on the coffee stirrer addresses embouchure size changes between registers and makes the breath more efficient. A three step process to practicing with the coffee stirrer is to play a passage on the coffee stirrer, then without and finally with the flute.

As I practiced, I stayed inclusively aware to recognize tension as I played. I practiced the phrasing study within the context of contour and stayed aware of the places where I felt less efficient and began trying harder to achieve the sound and shape I wanted. I practiced those specific phrases on my coffee stirrer in order to feel how I could open up behind the embouchure while breathing with less effort and movement. By the end, I felt like I was beautifully contouring this first melody with efficient, organized movement.

With this smart, efficient practice, I felt an ease that usually doesn’t happen until after a good warm-up. With a little creativity and inspiration to try new things, I feel that I’m arriving into a new level of practice. Quite simply, it was nice.

Part One:"...but I practiced!" A practice strategy for learning a new piece

I have a student (we’ll call them “B”) who has dysgraphia, a learning disability. We have been working together for a year and it has been a very fascinating journey. B’s background is in special education, so I have benefitted from their expertise as I rise to the challenge in order to grow as a teacher and find new ways to teach music to those that process information differently.

Most private music teachers have a few strategies for helping dyslexic students since that "LD" is more common; however, unless the parent and student are up front, it can be difficult to realize you cannot teach in your usual manner with students who seem "lazy" or "don't try hard enough." Unfortunately, sometimes it isn't until the student gives up out of frustration and you feel like you’ve failed as a teacher that we realize missed opportunities. Since private music teachers are in no way trained or ethically able to diagnose a student, we must be patient, armed and ready with a variety of strategies and solutions for each problem that arises in order to customize a student's instruction.

I appreciate B for hanging in there with me. It has been a mutually beneficial path of discovery. Lately, we’ve had a series of lessons where we’ve been discussing practice strategies to help them systematically work on achieving a faster technique and ways to help them learn new repertoire faster. Thanks to a great conversation on twitter*, my own research and input from wonderful collaborative pianist and practice coach Erica Sipes, here is a strategic stepwise plan that I created for B in order to learn a new piece. I wanted to post this online for others that may have trouble seeing the trees for the forest.

What happens when you hit the wall and take longer than everyone else to achieve the same goal? What happens if you cannot use what we typically refer to as chunking (playing groups of notes with pauses in between to allow the brain to process short term information into its long term memory)? Use this practice plan to strategize and increase your chances of success in the practice room if you've tried other ways and they haven't worked so well.

I myself have been inspired to work in this new way especially with music that is out of my comfort zone. Going from larger to smaller details and back again creates a process that encourages confidence in the music.


Start with the big picture:

1) When learning a piece of music, outline the piece to get the big picture before moving on to details. Analyze the piece in order to determine its overall shape, phrase structure, range, key and key changes, and scalar and arpeggiated patterns. If you are able, analyze the piece's chord structure. Listen to the piece at this point to keep the big picture.

2) Play the piece through. Mark places immediately that you know will need attention, but don't get stuck on small mistakes. Stay focused on the big picture in this initial playing.

Begin learning and exploring the finer details of the piece:

3) Learn one musical idea at a time. Too often we get stuck on playing through the material until we feel somewhat comfortable. This way can be time consuming and inefficient. One idea suggested by Erica is to start from the end of the piece and work backwards on one musical idea at a time.

Working within the context of musical ideas versus chunks is one issue that I've encountered in my work with B. Because of the amount of time needed to learn a new piece, a chunk determined by number of notes and not musically becomes ingrained with the break that you take between each chunk. Practicing musical ideas keeps the phrases intact without arbitrary breaks in your final performance.

4) Practice by ear. Work with a recording to learn parts of music that is giving you trouble. I recommend this step especially if you're not a particularly aural person. B is visually dominant, and I suggested this step as a challenge. Practicing this way will help develop your ear and help you tune in to wrong notes and mistakes faster.

5) When you’ve worked through this process, play the piece through to find where you are. Mark any places that are still troublesome and work through the process again until you feel confident of the piece.

Ultimately, I think this process helps those who have trouble processing smaller details. Backwards chunking and practicing by ear for the smaller details help integrate these into the larger picture that you need in order to have a successful performance.

I encourage you to try this for yourself and see what happens. Instead of getting by on innate talent, sometimes a little more focus or discipline is needed in the practice room for the results you want. Stay open to experimenting and adapting the suggested steps in a way that works for you. If you had to adapt any of this to fit your personal needs, I would love to know. Please e-mail me at adelpalazzo (at) gmail.com.

Part Two will be about devising a technique practice strategy. Stay tuned!

*Thank you to my colleagues on twitter for a useful and practical discussion of practice techniques when I asked for advice. Be sure to follow @quartertonality, @TammyEvansYonce, @ericasipes, @AnythingPiano and @hickey_kim!

*Photo credits: Psychologies and Arctangent

Hitting the wall

I practiced last night. I had several wonderful moments where I felt like I knew what I was doing.

But my practicing ended on an ugly, frustrated note. I spent most of my time on tone work so I could explore Body Mapping principles, using my ball, using my pneumo pro to incorporate some more work into my playing.

It backfired.

Music is the goal of everything I do. I ended up frustrated with myself because the exploration became a study in concentrating and scanning. Instead of freely playing, I began concerning myself with organizing my movement which is still a concept I'm struggling with. I'm still struggling with finding balance and trying to hold it because I'm scared I'll lose it.

The moments of absolute freedom and musicality make my journey worthwhile and exhilarating. But it's these moments of frustration that bring the fighter out in me. Already, I feel a desire to pull my flute back out and try again. I refuse to give up.

I'll bottle that desire up and try again tomorrow. We all feel like this. It's how we choose to deal with it that matters. Honestly, I sat down, put my face in my hands and cried a little. But I got over it. I'm not performing tomorrow. I'm simply giving myself the time I need to make changes in my playing that will let the music shine through. Explore and challenge yourself to grow.

I simply gave myself permission to fail. I wasn't successful last night but I'm one step closer.

*photo courtesy of daarkeaagejeethai.blogspot.com

Movement in Martinu

I was finally able to spend some quality time with my flute.

In my practice training layout, I had designated that day as a "Whatever" day allowing myself to transition based on what drew me, rather than a prescribed routine of Moyse and scales. I jumped into playing repertoire immediately, which isn't my modus operandi.

Although it takes longer, I've found that giving myself a two to three hour block of time gets me more in a state of flow than if I try to jump into my practice and get it done. Instead, having this block of time lets me rest as I need to while feeling like I'm not pressured for time. This state of flow happened to me as I was practicing the first movement of the Martinu Sonata yesterday, and I stood on the edge of discovering something really truly great about integrating my movement with the music so that the movement frees my body to release the music that is within.

I can't quite describe it yet, but the experience was there. I was grounded, letting the floor support me. And that support resulted in effortless music making. I stopped fighting my body and started letting my body do what it naturally does.

Then I got to the 6/8 section, and I resumed my old movement patterns of tension. But that brief moment of effortless music was enough to motivate me to get through the rest.

It's a process and I'm grateful to be able to start experiencing music in this way now. Through my study of body mapping, Alexander Technique and Feldenkrais, I'm refining my awareness and learning more everyday and those elements are now emerging in my playing.

A side note about my practice routine. If I had used my time yesterday to practice like I usually do, I don't know that I would have ever gotten to the Martinu before I reached my limit. If that had been the case, I wouldn't have had the experience so that's certainly a plus for this practice like you train idea.

Explore your movement. Move purposely, move naturally, and move well.

Here's Dr. Kristen Stoner performing the 1st movement: