When working with muscles, as we lovers of brass playing do, patience is more than a virtue. I'm continually struck by the similarities between trumpet/brass instrument craftsmanship and athletic training. Giving in to our impulse towards quick results won't produce the distance nor results we desire. Marathon runners, for example, don't start training for a marathon the week before the event. Why do student trumpeters, and even those of us who should know better from having experienced the crushing failures of cramming, continue to make this particular mistake? I believe at the heart of the answer lies the belief that we either intrinsically have what it takes, or we don't, so why start so early to prepare? We need to recognize that playing even one solo or an audition is a marathon. If we expect to "have what it takes" at the time it's needed, we must prepare skillfully because marathons (and beautiful performances) aren't accomplished on a whim. Performance pressure warrants marathon status because of the mental, physical and emotional stress attendant upon public performance. The excitement and the pressure require that we have 1) a thorough physical foundation upon which to perform, as well as 2) a well developed understanding of the historical context of the music, with the technical foundation to match. 1) Such a physical and technical foundation takes time to build. If we start early enough ahead of the audition or performance, we won't be rushed into tensing up, or into forcing, or into faking our way through difficult passages. We can take our time, and let the muscles and mind gradually strengthen to meet the demands of the music. We must give ourselves permission to "neglect" some of the details. For example, playing through passages slowly and softly to understand where the challenges are, and to play with ease demands that we leave off dynamics, articulation, and tempo markings for a time. If we discipline ourselves, we can do this. The reward is such that not only will we have the emotional expression needed to communicate a strong message, but our technical limitations will not get in the way of that message. Technical demands, when not properly addressed, detract from music's ultimate aim. Technical demands must be so well in hand that they don't interfere with musical expression. For demanding areas, try working backwards from the difficult passage. Isolate a short segment which represents the greatest challenge. Play that segment four times in a row with each time being acceptable on one identified parameter. Then move back a measure and play the two together. Only add measures as each group is successful. When the isolated area weakens, return to playing it alone four times in a row until it can be incorporated in larger and larger sections. Such an approach increases confidence in performance by smoothing out our technique as well as our own emotional reaction to difficulties, and allows us freedom from inhibition or fear. 2) When musical and technical knowledge are acquired slowly, they rest solidly in our playing and provide a sure foundation for the vicissitudes of performance situations. As historical bits come together over time, they become part of our own story and part of who we are as musicians. We start to own the music, and what we desire to say through it. However, if there is pressure due to a short timeline, we don't feel free to cultivate such a foundation of knowledge and true expertise. So we cut to the chase, and work out the bare minimum to get through. Haste really does make waste, no more so than in performance preparation. In allowing ourselves adequate time to prepare, we are laying a foundation that powerfully mitigates the pressure of performance.
Today, as I was practicing for the third time, I realized I needed to simply stop. I was more than tired, I was beginning to force, and it sounded strained. Not the way I want to feel when I play, nor the musical result I want others to hear. Because I'm far enough out from performance time, I can stop without feeling undue pressure that I have to get this worked out...right now. It can wait until I'm rested, and the muscles and mind have regenerated. A foundation built over an unhurried span of time brings the music to life in a deeply personal way. It guides our performance, and provides the tools to inspire a completely new and fresh rendition of music that may be a hundred years old or more. If, on the other hand, we're working on new music, then by preparing in this slow manner, we contribute to the interpretation of the music by offering a well-considered, thoughtful and thought-provoking performance. It may even become the standard by which others are measured. Early preparation is a gift we can give ourselves and our listeners. Start now on a long-term project, and see where it takes you. One step at a time. If you feel you would like some help goal- setting in long term projects, feel free to reach me through my contact page. Also, previous blog posts have explored this topic. You can find one here. Or try keeping a journal of your practice habits. Start one today for a project that is months away, and realize tremendous results. As with exercise, focus makes all the difference! Comments are closed.
|
GlendaI'm a trumpet player and music teacher aiming in this blog to help other Trumpeters, Music Enthusiasts, Music Educators, and aspiring professionals reach their highest potential in life through the study and cultivation of musical skills. Music Education
|