Whether you love it or hate it, the metronome is an essential tool for every musician. That’s right – I said “essential,” as in, MUST have one and MUST use it.
If you’re a metronome fan, you already know the benefits of working with the metronome. If you’re one of those who would rather visit the dentist than try to play with the click, read on to find out exactly what the metronome can do for you, and why it’s easier than you think to use it. (Hint: you’ve probably been using it incorrectly.)
Whether your metronome has a swinging arm, flashing lights or just a click, it has one purpose: to give you a steady beat.
It’s all about the beat
Without a steady beat, a predictable rhythmic pulse, music loses much of its power. Our reaction to the beat is instinctive; we tap our toes, clap our hands, nod our heads. We move to the groove. When we fail to keep the beat steady as we play, we don’t allow the listener to connect on...
That moment of excitement, the crisp, unsullied page of music full of promise. It’s a brand new adventure – the starting of a new piece. When I was a young student, it was the moment I loved most. My teacher would put that new music book on the stand, and I could hardly wait until I was at home and could begin to learn it. I was always an eager, if not always a careful, student. I would launch head first into the new music to see what joys were waiting there, reckless of the wrong notes I played along the way. And that recklessness would cause me problems later. I would have many corrections to make and much curbing of my enthusiasm before I had the piece learned to my teacher’s satisfaction.
I have often envied my students who take a more sensible approach. Their careful systematic practice leads to much more predictable results. But there is a weakness in their strategy too. Sometimes it just takes too long to get to the finish line.
Wouldn’t it be...
Why do you play the harp (or whatever instrument it is that you play) ?
How long has it been since you thought about that, since you really reconnected with your musical “why?” We tend to be so involved with the “what” of practice and performing that we lose track of our “why” and without that, it is easy to lose our way.
I really don’t remember not having the harp in my life. I didn’t start harp lessons until I was eight years old, but my mother always told me that I was two years old when I first heard the harp and said that was what I wanted to play. And from the time I was four, I was studying piano with a teacher who also played the harp, so each week when I went for my piano lessons, her beautiful harp was there beckoning to me, or at least it seemed that way.
But there came a time when I was studying at the Curtis Institute when I needed to find my “why.” I had been playing for more than 10 years and, although I was...
Have you ever thought about how you play music, about how you do what you do?
It’s not just about style. The way you play, what you actually do to make the music happen has much more significance than just style.
And it’s not magic either, not pulling a rabbit out of a hat. Musicians work and practice hard to be able to produce flowing melodies, rippling scales and arpeggios, beautifully shaped phrases and an even tone.
But maybe there is magic that happens. We experience that magic in a performance by a master when the performer and instrument almost seem to become one being. There is a sense of ease with no wasted motion and no extraneous gesture. We sense that the physical exertion of the performer is exactly what is required to produce the music. no more and no less.
That magic is not an accident, of course. It is the result of years of practice dedicated to physical training with an artistic goal, teaching your body to make music.There are three different...
Positive Practice is something I work on for myself and for my students. I define it as practice that is focused, time-efficient and goal-oriented. Even my younger students are able to practice in a way that is more interesting than mere repetition and yields faster results.
This is the story behind my Positive Practice system: When I was in college, I had hours to practice. Practicing was how I was supposed to spend my time. Then in the years after school, I still had plenty of time to practice as a young professional musician.
But after I had a family and a busier teaching and performance schedule, I found myself with a dilemma. The musical demands of my performing were greater, so I wanted more time to practice, but I had much less time available.
My options didn’t look good. I could spend less time with my family, especially my young son. Or I could perform less frequently or less challenging music. Neither choice was acceptable to me.
So instead of being negative and...
When you think about it, “inside out” starts in the most important part, the center.
Consider the maze in this picture. Those twisty paths full of dead ends confuse you on your way to the center. But if you were able to start from the center, it would be relatively simple and much faster to find your way out.
When we practice, we envision the final performance or finished piece as the goal, the “center” of the maze. But suppose that we take that piece as the starting point for furthering our musical development, so that we not only learn the piece, but learn more about music and the way we play, the bigger issues in our music-making?
If you had music lessons as a child, your lesson books probably looked like mine: Each week, my teacher assigned me a scale and arpeggio to play, an etude that worked on a specific technical challenge, and a repertoire piece that illustrated that particular skill in a “real music” context. This kind of lesson plan is...
Many music teachers have rules for their teaching studio. Some publish their rules as a list of do’s and don’ts; others as a contract between teacher and student. The rules usually reflect the teacher’s expectations for practice and behavior in the lessons, commitments to performances, etc.
And the rules are usually designed to support the happiness of both teacher and student. The student will learn, the teacher can truly teach, and the parents know they are getting their money’s worth.
But for those of you with a slightly contrary nature, here are my top ten suggestions for you if you would like the award for “World’s Worst Music Student.”
10. Tell me you practiced when you didn’t. I can tell. Really.
9. Decide to use your own practice methods instead of the ones I suggested to you. I don’t mind you trying creative ways to practice, but if we have spent lesson time crafting a careful plan to move you ahead, I would like you to...
Have you ever questioned whether you can ever play music the way you want?
It’s a moment of truth: when your desire to play music butts heads with your current level of accomplishment. It is that moment when the pleasure you found or hoped to find in making music is all but gone, replaced by frustration and disappointment. It is the time when you are forced to consider making a choice, going down one path or the other.
I faced that question in my moment of truth many years ago. Actually, I had several moments of truth. The most significant and painful one could have cost me my harp studies at the Curtis Institute of Music. It was a moment of decision that could have been a moment when a dream died or a moment of action. Guess which I chose. And that moment led me to some of the insights that became my Kaleidoscope Practice system.
Those moments seem to be a natural part of studying a musical instrument. And they’re not just for musicians who are looking toward...
For some musicians, sightreading remains the last great mystery. They can practice; they can perform. But the idea of sightreading still makes them break out in a cold sweat.
There are limited occasions in life when you actually must sightread. It is often required at auditions for colleges, sometimes at competitions and music exams, always for orchestra position.
But even if you aren’t auditioning anywhere, when you are a confident (or at least relatively confident) sightreader, all kinds of opportunities present themselves. Your preparation time for rehearsals and concerts is considerably shorter, allowing you to accept more engagements or at least not be so stressed about those that you have. You have less fear and so you are more willing to experiment with different musical experiences. Making music becomes easier and more fun.
But sightreading is not a skill on its own. Your sightreading facility is supported by the foundation you have built for it in terms of technical...
What's in a chord? Or more to the point, how do I play this chord and make it sound the way it should?
The harp was made to play beautiful chords, and yet they are a source of frustration for many harpists.
In this post I describe the four essential ways in which we encounter chords and what you need to do to make your chords the best they can be.
Be sure to get the one page PDF Chord Practice Sheet too
In a flat chord, all the notes are played at the same time. Sometimes a square bracket like this [ indicates that a chord should not be rolled, but often the choice is left to the performer. This is also the best technique for a beginner to use, as it uses the most basic technical skills.
What are the qualities I am looking for?
All the notes of the chord should sound exactly at the same time, and with the same volume and tone. Not as easy as you might think.
How do I practice them?
Be sure to use impeccable technique, playing each finger fully...