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  • September 2014
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Motivation to Practice: Go With the Flow

English: Alberto Guerrero (standing) with Glen...

English: Alberto Guerrero (standing) with Glenn Gould, circa 1945.

There’s a lot to like about the video of pianist Glenn Gould below. I’ve highlighted three things that happen in the video (see clips below).

As the great Robert Krulwich (of Radiolab and NPR) pointed out in a recent post, Gould appears to be deep in a Flow state, practicing Bach’s Partita #2.

For me, achieving Flow is one of the biggest motivators to continuing to practice, because it’s a transcendent experience and feels wonderful. Part 2 (of 6) in The Practice of Practice covers helpful aspects of motivation, including Flow, in greater detail. Some players, like drummer Allison Miller, told me that sometimes they’ll go into a practice session with no other goal beyond getting into that Flow state, or a meditative state.

Here’s what Mr. Krulwich said, and as to the last clause, I couldn’t agree more :

How one gets there — that’s still a mystery. Practice is important. Tenacity matters. Talent helps. When you find your “flow,” your brain changes. Dopamine and noradrenaline kick in, GABA neurons get suppressed; sex, hunger, thirst matter less, you are free to play more deeply with stream-of-conscious associations; you are chemically released and can now roam far and wide. Yes, you have no idea where you are or how this is happening; but that it’s happening must be one of the most wonderful experiences ever.

Another gem from this video is at 1:36 (cued up below), when Gould shouts, “Na!” at a mistake. You can see him bear down, sing more precisely, and practice that little flubbed passage again. It’s a golden practice moment, and a bit hard to catch, because it’s an error that only an expert in this music can hear.

Gould was infamous for being difficult to record because he usually vocalized when playing. It’s another trait most master musicians (no matter their instrument) do when playing: Oscar Peterson is another pianist who vocalizes comes immediately to mind.Singing is one of many mental practice strategies that pros in all genres of music use, covered in Part 6 of The Practice of Practice, chapter 31: Going Mental. Check Gould out at 1:59 when he actually gets up from the piano to sing a tricky bit of the Bach.

Finally, there is another important aspect of practice that’s often overlooked: the role of a teacher. Alberto Guerrero was one of Gould’s teachers (picured above), and it was Guerrero who taught Gould a simple practice technique, called “finger tapping,” that another of his students explains below. Learning on your own is great, and everybody does it, but a teacher can shave years of practice off with just a few tips. The different kinds of teachers for different stages of ability are covered in Chapter 14: Hot for Teacher, in The Practice of Practice.

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Back-To-School Specials On All Formats:

The Practice of PracticeBasic Music Theory: How to Read, Write, and Understand Written Music, by Jonathan HarnumSoundTheTrumpet2_Cover

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Want to Practice Better? Forget About “Natural” Ability.

One of the most important chapters in The Practice of Practicechapter 6–has nothing to do with practice directly, it has to do with what you think about musical talent. Is musical ability “natural,” a gift of genetics? Is it something you’re born with? Something you either have or you don’t? Or is musical talent earned through exposure and effort? Your answer will have a profound impact on your practice: your motivation to practice, how you approach practice, whether you persist in the face of challenges, and how deeply you learn when you do practice.

This stems from Carol Dweck’s work on how your ideas about the nature of intelligence affects how you learn. Here’s a superb summary of her work by Trevor Ragan. Dweck’s studies have been replicated and expanded since 1986 when Dr. Dweck first began her investigations. She has a wonderful book out that covers the topic in great detail, called Mindsets.

Music education researcher Bret Smith has found similar repercussions for musicians who hold fixed (innate ability), or fluid (talent is grown) ideas about musical ability. The kicker is that it doesn’t really matter whether musical talent is genetic or not, it’s your ideas about its nature that shape how you practice. Want to learn more about this topic, and 45 other chapters of great material? Pick up a copy of The Practice of Practice. Learn more about the book here.

Goals as Fractals and Guerrilla Practice

Hans Jørgen Jensen

Hans Jørgen Jensen

Hans Jørgen Jensen is an affable cello teacher from whose studio have come cello players who win in international cello competitions and garner spots in top orchestras around the world. He’s a wonderful teacher and an interesting, busy man. There were many gems to admire when he spoke with me about practice, but the one that sticks in my mind, the one that was powerful enough to make it a chapter in The Practice of Practice was the power of goals. Another chapter covers what I’ve called Guerrilla Practice: snatching a tiny fragment of practice when you can, either once a day or, ideally, throughout the day. Both are covered briefly below.

Setting goals “just right” is one of the most powerful and motivating techniques expert practicers use to get the most out of the practice session, even if you only have two minutes of practice time a day . When I asked Hans Jensen my favorite interview question, if there was one thing he would teach his younger self about practice, he said, “I would try to make my goals more specific: short-term, long-term, and having a big vision of where you’re heading with it.” He teaches his students to set clearly defined, concrete goals. He said, “If there is no dream, and if there is no vision; that’s what we need for having motivation.”

We know about long-term, mid-term, and short-term goals. Except for short-term goals, larger goals are abstract: it’s a challenge to know exactly what to do to achieve them. I envision goals as a fractal, specifically, a Sierpinski fractal, named after the Polish mathematician who discovered it in 1915. You can see below that even the tiniest goal is a part of the larger goal in which it’s embedded, which in turn is part of a larger goal, etc. Here’s the graphic from The Practice of Practice:

SierpinskyGoals

The trick for your single practice session is to break down goals even smaller than short-term goals. Immediate goals are what you want to accomplish for the time you have, whether it’s 5 minutes or 2 hours. Micro goals are one specific task you’d like to accomplish, say learning a tough phrase. Nano-goals are a single repetition, the goal of which is to play the repetition flawlessly.

Shrinking goals to the smallest size helps to make concrete exactly what you’ve got to do to improve in that one moment. Approaching practice like this will help you improve even if you only practice 2 minutes a day. One of Hans Jensen’s students was a graduate student strapped for time and she could spare only 2 minutes a day. His student was learning the Popper cello etude #38 (cellist Joshua Roman in the vid isn’t Jensen’s student). Hans said, “It’s a hard etude. It goes fast! I think she worked on it six weeks. At first, for the first two weeks, she only practiced one minute a day. Then we changed to two minutes. It’s really hard! One of the hardest.” Setting tiny, reachable goals was the technique that allowed her to learn the etude.

Kolossen i Frihamnen

Kolossen i Frihamnen (Photo credit: Eva the Weaver)

Goals combined with what I’ve called Guerrilla Practice are a one-two punch. I used to think that I needed at least an hour or two to practice, otherwise it wasn’t worth it. Hans said he used to think that, too, but he told me, very emphatically, “That’s totally wrong.” Hans said he had another student who got better lots faster than other players. When Hans asked him what he was doing to get so much better so much faster, he said he used short moments of down time to practice, mostly during group rehearsal warm-up time. Ten or fifteen minutes here and there really adds up.

To learn more about goals and many other helpful practice approaches, get a copy of The Practice of Practice. Buy a paperback copy and get the Kindle edition for free! If you have Amazon Prime, you can borrow a Kindle edition for free.

For more on Hans Jensen’s teaching, check out the wonderful documentary on Vimeo, Taste the Stringposted by Richard Van Kleek. All kinds of great stuff in there about learning to play, teaching, and life.

We’re all busy, but I know I can spare at least two minutes a day for an intense burst of practice. I bet you can, too.

 

 

 

 

 

Yeime Arrieta Ramos: When She Looks Asleep, Her Accordion Playing is Most Dangerous

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Meet young accordion queen, Yeime Arrieta Ramos. Her playing is great, and her attitude is even better. I’ve been writing about Flow states lately, for a chapter in the motivation section in The Practice of Practice. Young Ms. Ramos could be a poster-child for Flow. She looks incredibly relaxed, and yet is playing some serious accordion in the shot above. One of her teachers says something like, “When she looks like she’s asleep is when her accordion is most dangerous.” The joy she has in playing is hard to miss.

I’d love to hear more about her history and how she practices. Her musical companions, who also seem to be around 10-12, are also pretty amazing musicians.  I think I’ll go check the Smithsonian app for the documentary right now. Looks like a good one. Here’s Yeime Arrieta Ramos in a clip from the documentary:

Want to learn more about the best ways to practice? Get an e-mail with a discount code when The Practice of Practice is published (June, 2014). To learn more about the book, check out a sample from The Practice of Practice.

Motivation to Live Your Dream

Want to learn more about the best ways to practice? Get an e-mail with a discount code when The Practice of Practice is published (June, 2014). To learn more about the book, check out a sample from The Practice of Practice.

Landfillharmonic: Instruments from Trash

“The world sends us garbage. We send back music.”

                       ~Favio Chavez, orchestra director

Those with love and passion and curiosity will see everything as useful in some way. Some call it the “enchantment with everyday objects.”

The next time you think you have to have an expensive instrument to make music, remember this video. I got all choked up. Brilliant!

Want to learn more about the best ways to practice? Get an e-mail with a discount code when The Practice of Practice is published (June, 2014). To learn more about the book, check out a sample from The Practice of Practice.

Thanks to Dan Coyle, author of The Talent Code, and The Little Book of Talent for calling my attention to this gem.

Motivation Station: Do Incentives Work?

If you’ve got 10 minutes, check out this quick animation from the good folks at RSAnimate about some interesting studies of motivation presented by Daniel Pink (taken from his book on motivation, Drive).

Even though the topic of this talk on motivation takes a business-oriented bent, I found myself using the ideas to assess my own relationship with practice and with music and with my other chief love, writing. Interesting that for mastery motivation he cites music, echoing my last post about Carol Dweck’s work.

Want to learn more about the best ways to practice? Get an e-mail with a discount code when The Practice of Practice is published (June, 2014). To learn more about the book, check out a sample from The Practice of Practice.

Motivation might not be what you think….

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