Motivation and Practice: part 2 Practice

What is practice?

That's a good question.  There are more kinds of practice than one may think.  As a noun, a practice is an ongoing carrying out of a profession.  Like a law practice.  As a verb, practice can mean to perform a particular skill in order to improve or become proficient.

Going with the latter and applied to the practicing of a musical instrument, there are different kinds of practice within that definition.

Practice to learn a skill.
Practice to become proficient at the skill.
Practice to master the skill.
Practice to maintain the skill.
Practice to integrate the skill into musical action.

Wow, that's a lot of practice!

The drums are a very physical instrument. The drum set has been referred to by the great Max Roach as a "four limbed monster" and indeed he's right.  The manipulation of the sticks and pedals to get the multiple instruments to all speak as one rhythm, one sound, takes a lot of work.  It takes a certain amount of conditioning of the muscles and mind.

So, you have a "conditioning" kind of practice that you must deal with in order to train your muscles.  Olympic athletes know this well.  Have you ever watched the Olympics and marveled at the precision, the timing, the confidence, the clutch performance of the athletes?  That certainly doesn't happen by accident, or even with mere "practice".  It happens with an intelligent and analytical approach to training, conditioning, muscle memory, mental toughness, self discipline, motivation and probably some qualities there aren't even names for.  Let's call that inspiration.

Let's break it down further.

Practice to learn a skill:  slow, concentrated practice of the skill to teach the muscles and mind how to respond.  Paying close attention to form, feel and sound production, we are literally teaching our neurological system and brain how to fire together.  We are wiring the action into our brain.

Practice to proficiency:  to be able to perform/execute the skill upon command with good form and control.

Practice to mastery:  to be able to execute the skill at any tempo, any dynamic level, under any circumstances, at any time.

Practice to maintain:  as they say, use it or lose it.  This kind of practice is usually a daily ritualistic practice of going over what we have mastered in order to keep what we have worked so hard to master.  What we have mastered is like a jumping off point where we move onto to the next plateau.

Practice to integrate the skill:  for musicians, this would mean utilizing the skill within a musical performance context, usually playing with other musicians (but not always) and to be able to maintains ones ease, concentration and form in the "heat of battle".  For athletes, this would be in an actual competition.

A lot of practice indeed, but if you break it down into different types of practice, one can begin to put it into perspective and begin to understand how a master musician attains that level of play.  Obviously, there are intangibles; talent, culture, opportunity, environment, tenacity, goals, vision.  However, if we understand what we are doing when we practice; learning, polishing, mastering, maintaing, integrating, then it doesn't seem quite so daunting, dry or academic.  It makes total sense.

Thanks for reading, let's go hit the practice room!

Motivation and Practice: Motivation Part 1

What lies at the root of our actions?  What is our "Why"?

In regards to music, playing, practicing and improving; motivation is key.

Recently a parent of a student came to me and said his son was practicing 15 minutes a day, like I suggested in the beginning, but that his practice routine hadn't grown… in 2 years.  And as a result, his playing hasn't really grown as much as he'd like.  

It got me thinking about what drives us.  What motivates us.  What's within us.  

A wise man once told me "There are no officials in life who are going to blow a whistle on us if we don't practice.  It's something that you either do, or you don't do."

Further, yes, you can practice regularly and maybe not really improve.  If that's the case, then you have to ask yourself why you're practicing, what your goals are and most of all, is it enjoyable for you or is it a drag and a chore?

A teacher can shine a light on the path, but the student must walk the path themselves.

What motivates you to play will motivate you to practice.  And what motivates you to practice is your desire to attain, to understand, to master, to move to the next thing, to build on what you've gained already.  

When a student comes to me with a desire, a goal, then my duty is done for me, almost.

On the flip side, when I have to practically beg a student to bring in a song they love and really want to be able to play, or beg them to go out to a jam session and sit in, or practically plead with them to get the Charles Wilcoxon book, then the chore is mine.

Some young aspiring players, you can't keep the instrument away from them, as soon as they come home from school they head straight for their horn, the piano, the drums, the guitar.  And they play it out of sheer joy.  They've made a connection to it, to music, and they are drawn to it.

Some musicians practice out of love for the music, so they can honor the music that they hold in high regard, to be able to play it right.  They practice to be able to enhance the music and the musicians they are playing with.  They practice because they want to improve, constantly.  The best musicians practice constantly in their minds, they are always thinking about music, art, expression.  They are literally obsessed with music, not just their instrument, but music as a whole.

Some musicians practice out of fear of not being good.  Their motivation is suspect, are they really in it for the right reasons?  They may thrive on competition, not necessarily musical expression or understanding.  And to be very honest here, if you have to be begged to practice, or if you feel it's a drag, then maybe you need to try something else.

Playing music is something that maybe good in theory, might sound like a good idea, but have you defined your "Why"?  Do you know why you're doing it?  Most say, because it's fun, because I enjoy it.  If that's the case, then use that for motivation.  

Some players truly enjoy improving.  They live to wake up and play and to experience improvement every week.  In fact, they expect to get better and they do whatever they have to do to make improvements.  Some go to quite extreme lengths, moving to another city, practicing for many hours a day.  

Some watch the clock as they practice, some sit down with something in mind and will not stop until they attain it.  

If you have hit a wall in your practice, in your musical life.  Here are some keys to working through the wall and getting to the other side:

Find what motivates you.  This could be a tough question, but it is absolutely necessary.

Define your "Why"

Tap your curiosity.

Ask what it is you love about music.

Ask what your goals are.  Short term and long term.  

Go beyond what your teacher asks you to do.  And remember your teacher is only pointing you in the right direction, you must walk the path.

Find something you absolutely want to learn to do and pursue it relentlessly until you get it.  Not because your teacher asks you to do it.

Never stop, even the best players have periods in which they have to ask these questions and re-define what their goals are.  

I also think it's important to identify what practice is.  That's what we'll deal with in the next post.

Thanks for reading, now let's define that "Why"

Music clinics...

I first heard of musicians doing "clinics" when I was in high school.  My dad read in the St. Louis paper that an amazing drummer, Dave Weckl, was doing a drum clinic sponsored by Drum Headquarters, Zlidjian and Yamaha.  I was curious, so we drove down to St. Louis, a 2 hr trip from our town of Hannibal, Mo, to check out Weckl's clinic.

It was hosted in a high school auditorium, which was pretty full.  There were a lot of guys wearing their Zildjian shire and hats, I was one of them, and there was an expectancy in the air.  Something big was going to happen.

Dave put on a fantastic show, his kit was hooked up to the latest in drum processors and he played with some pre-recorded tracks that showed his orchestration and groove skills.  The audience was truly blown away, I know I was. After Dave played a couple tracks he spoke in depth about his approach to the drums; his concept of snare drum technique, his kit, orchestrating musically, tuning, and the New York music scene.  Weckl spoke at length about New York and that there was room for everybody and that if a musician was very serious, they should think about going to New York.  That was maybe the first time I thought seriously about it.

Over the years I went to a few more clinics and they all had their own vibe.  Ed Soph was very matter of fact and no-nonsense.  Gregg Bissonette was high energy and entertaining, while also very grounded and conversational.  Louis Bellson.  Dennis Chambers.  Simon Phillips.  Tony Williams.  Kenwood Dennard.  Victor Lewis. Every clinic I ever went to I can remember something interesting about each one of them, I came away with something to think about.

Some of my favorites were not the drummers, but pianists and horn players:  Bob Brookmeyer, Clark Terry, Lew Soloff, Clare Fischer, Gerald Wilson, Phil Woods, Kenny Werner.  All amazing musicians with a lot to share.  Just being in the same room with them, listening to their ideas, elevated those who came to listen.

With Wes Faulconer of Explorer's Percussion at a clinic in 2015

Now, I am giving my own clinics and it is an awesome experience, more exciting than I ever thought.  I've been doing a lot of clinics with high school jazz groups and it's always fun and I end up learning something.  A recent clinic at Explorer's Percussion in Kansas City was a favorite, we had a great turnout and I felt a real connection was made with everybody in the room.

I do some playing in the clinic, but I try to emphasize the "Why" of music.  What motivates us to play music anyway?  Why do we do what we do?  The sacrifices, what is it for?  I always get very interesting answers from musicians as to why they love music, why they do what they do.  Sometimes it can't be explained, but I feel it's something we can benefit from being in touch with.

Aside from the philosophical side of things, in a clinic I try to give my audience something they can't get anywhere else.  So I approach rhythm from a totally different perspective…. the jump rope!  Check out this video to see rhythm from a different perspective.