Why do we practice?
We practice to get better at what we do. This is true of all that we attempt. If you enjoy playing cards, you need to play cards. If you are a player of baseball, you need to practice your sport and this is also true for musicians working to improve their ability on their chosen instrument.
As young instrumentalists, we were encouraged to spend time practicing by our parents. Money was allocated for private lessons and for that reason, our guardians expected a reasonable return for their investments. Most aspiring young performers were required to belligerently practice their lessons for thirty minutes a day or even more. We understood the rules and, in most cases, complied. Most of us didn’t enjoy the drudgery of these moments in our lives but we complied for various reasons. Sometimes we were bribed, and in some cases, we were threatened. For whatever reason, we did it and we improved.
Once we left the confines of our childhood homes, as musicians were understood that practicing was necessary for continued improvement, so it was done. As our abilities on our instrument advance, so did the expectations for better performances. Better performances also required lengthier practice sessions. This vicious circle, ie harder music requiring more practice time, continued. Eventually we reach a level of practicing which insures a respectable level of performance.
Why do we continue to practice?
Sustaining a regimented practice routine for some is the enjoyment of the day. But to some, it is something viewed as a requirement of the job. To be perfectly honest, “I hate to practice and will continue to dislike this tedious and time-consuming routine”. The only thing I hate more than practicing is performing at a lower level than I can stand. Embarrassment for one’s performance can only be blamed on one’s lack of preparation.
Most practice routines require repetition of exercises or musical passages, i.e.. scales, flexibility exercises, long tones, musical excerpts, solos, etc. Now those are inspiring moments in one’s life. This reminds me of the old song “Herman was a violinist; he would practice the hour”.
We are faced with repetitive chores every day and never flinch. Take personal hygiene for example. Every day we rise to shower, brush our teeth, comb our hair, get dressed and eat breakfast. These are repetitive chores expected of us every day. Skipping any of these activities will result in less than expected consequences. Not brushing your teeth will result in bad teeth, bad breath. Not showering will result in losing all of your friends. We are expected to take care of ourselves within our social circle. As musicians we are also expected to prepare ourselves within our musical circle.
How do we practice?
Knowing what and how to practice efficiently is the next and most important question in this treatise.
What to practice.
What to practice can depend on many situations. As a soloist on the recital stage, you have completely different material to practice than a musician doing commercial playing in a dance band. If you perform in a symphony orchestra setting, your practice routine will differ from preparing for a rock band. Your practice time should match you performing requirements. This would be your immediate goal. You should also prepare for changes in your requirements. If you play lead in a jazz ensemble, and you have time, practice some transposing exercises for you might be called to play in church and the musical director could forget to transpose your music for Easter. If you are a devout symphony player you might want to practice some improvisation for the next time you are asked to play happy birthday for your conductor.
I have learned many things since I started performing trumpet solos on stage with the Moline (Illinois) Boys Choir at the age of 9.
Here are a few random thoughts on being a successful performer.
- Always warm up. Even buzzing on your mouthpiece as you drive to a job will work.
- Choose the numbers you would like to play on your recital and drop two of the pieces to make a shorter and less stressful performance.
- Get paid in cash whenever possible.
- Cash checks as soon as you can, while there is money in the leader’s account.
- Always practice your solo at least one step higher than written so that the original seems easier to perform.
- Keep your high range at least two steps higher than you are expected to play.
- Have at least 15 minutes more endurance than you need.
- Never clean your instrument before a performance.
- Never change lip ointments before a concert.
- When performing, never wonder to yourself what the audience is thinking of your performance.
