How I practice - A Guide to Maximising your Time
Over the summer break I worked out a good routine and schedule for my practice, so now it's easier to drop back into it as time allows.
There are lots of tips and tricks online about effective practicing, but here I describe what a my practice sessions actually look like - the nuts and bolts if you will - sometimes I find it helps to see what those ideas look like in a practical sense, to then adapt it to your own practice.
So the Easter holidays have arrived and the first school term is done. While I do miss the kids (and the income) I do not miss the endless traffic jams I face each day driving around Auckland.
The best thing about the break though - ample time to get back into some solid practice.
This term has been super busy, especially trying to fit in work on my side business (Tricot et Toile) around classes and performances. Regular practice kind of took a back seat. Luckily over the summer I worked out a good routine and schedule for my practice, so it's easier to drop back into it when everything else cools off a bit.
It's easy to find lots of tips and tricks online about practicing and how to practice specific things in more detail, but I haven't found much describing what a good practice session actually looks like - the nuts and bolts if you will - sometimes I find it helps to see what those ideas look like in a practical sense, to then adapt it to your own practice.
Typically, depending on the time I have, I'll do 1 or 2 chunks of 1.5 - 2 hours each -they go a bit like this:
- Tuning (2 mins) - It's important to spend the time to tune properly, 'near enough' is not going to do your intonation any good. I try whenever possible to tune by ear to a concert A, my other strings in perfect fifths. Using the tuner is quicker for sure, but after a while it makes your ear lazy.
- Warm up Scales (10-15mins) - When short on time it's tempting to skip this part, but even just 4 or 5 minutes makes the work you do from then on so much more effective. Scales are such a great way to get you physically and mentally in the zone. I find it's also a good indicator of the day I'm having, if I can crack into it or if I'll need to take things more slowly. I tend to switch between all different types of scales and patterns to keep it interesting.
- Studies (10-20mins each) - I usually have 2 or 3 that I work on at a time. I might spend 1 or 2 weeks looking at it before going on to something else. Studies are an excellent way to target specific areas of technique and develop or maintain skills that are perhaps not as often addressed in the repertoire. Currently I'm working through some Dotzauer studies, but I also like Sevcik and Werner.
- Repertoire (1 hour approx.) - Depending on time and how much there is to cover, I usually divide it up, working 15-20mins on each part. For example:
15 -20 mins each on 2 movements of Symphony
20 mins on Overture
or
15 mins each various excerpts
15 mins each 2 sections of Concerto
This way I can cover a large amount of repertoire, spending time on certain areas or aspects of the music. Rotating through everything over a series of practice sessions. I will of course periodically dedicate a longer time in order to run a whole work or larger section.
When doing 2 sessions in one day. I've found I work best doing one session in the morning, then at least 2 or 3 hours where I can get on with some other work, admin, lesson prep etc. Make something to eat and then return to my cello later in the afternoon. The structure I follow is basically the same but I will vary the material. This way I have more energy and focus, as opposed to doing it all in one hit.
When time is limited, an abridged version of the schedule will leave out the studies and I will be much more selective about choosing the parts of repertoire needing the most attention, either based on technical difficulty and/or performance deadline.
Around 95% of my practice is spent with a metronome.
The most important thing I've found is the quality of practice above quantity. If I'm really focusing, correcting things, listening and feeling everything, the practice is far more effective. For me, I do this better thinking in terms of small chunks. If I sit down for an hour and half to practice just as it comes, it's far too easy to whittle away the time without really achieving much
At a master class with Richard Aaron, professor of cello at Julliard, I remember him saying he'd get his student to set the timer for every 6 minutes and then note down what they had done in that time. Making you hyper aware and accountable for every minute spent. Whilst I'm not quite that disciplined, a little time pressure certainly keeps me focused and motivated.
Here are a couple of nice resources with further tips for good practice:
BBC Bitesize guides - this is aimed at school aged students but the concise pointers can apply to everyone.
Creative Commons article: This longer article goes more in depth with ideas and advice around effective practice techniques.
I hope this inspires and motivates you to work out the best most positive and sustainable practice regime for you. Please do let me know if this was useful and fell free to share any ideas or questions you might have.
2018 - A Year to Remember?
Another year has come to an end, 2019 has dawned. I always find this a good time to reflect, looking on what went well and what could be iimproved. This past year, there have been many ups and downs, but highlight of the year, was playing the Saint-Saens Cello Concerto with the Philharmonic Society Orchestra.
Another year has come to an end, 2019 has dawned. I always find this a good time to reflect, the warmer weather is here, we are stuffed full of treats from Christmas and probably indulging in a few wines in the back yard.
As I recall this past year, there have been many ups and downs, my teaching practice took off, there were many interesting performances, and, having set substantial goals for myself, I was very motivated to practice.
A highlight early on in the year, was playing in the theatrical piece "Think of a Garden", met some fabulous people, played some interesting music and was honoured to be involved in such a dramatic production.
To get some of the lowlights out of the way. I was a little what one might call 'a victim of my own success'. I was called upon at the last minute to take over cello lessons at 2 new schools, that alongside an increase in private students and a period of intense rehearsals, I was totally exhausted, resulting in a (very minor) car accident, it was the shock more than anything. At the time I was averaging around 220km per week in my Honda Logo, such a great little workhorse. It got a much needed wake up call, that we cannot do everything and we need to make sure we are looking after ourselves, especially when our schedule is full to bursting.
Another thing of equal parts plus and minus, was that surges of new private students meant that I actually had to make a waiting list and even turn some people away. I did consider extending my hours, but decided it would be counterproductive - I didn't want to risk any more accidents!
I guess THE highlight of the year, was playing the Saint-Saens Cello Concerto with the Philharmonic Society Orchestra in August. I'm the type of person that needs concrete goals to work towards, and for a performance musician, that means... performance. I can learn a particular piece, or work on technique, but if I don't have the culpability of actually performing soething in front of an audience, I find it difficult to stay motivated.
Believe it or not, this is the first time that I have learnt a work of this magnitude in its entirety and to performance level. There is an awful lot of work involved. Which I put in over a long period of time. My timetable as it is, this seemed the most reliable plan of attack, not to mention a work like this needs an element of maturity, much like a good Bordeaux, to be truly at its best.
In preparation, I found it best to look at it from many angles, the concerto, while not in movements as such, has several distinct sections, which can be worked on as bite size chunks. Rhythm, tone, style and speed were all elements that needed attention. There was a lot of work done with the metronome, which paid off in the end as far as the orchestra were concerned, however some may have considered it a bit too square.
In the process I sought out to have some lessons. Sometimes you just need someone else to point things out. Andrew Joyce, principal cellist in the NZSO, was so inspiring, his enthusiasm and passion emanates in all directions. He was very helpful in giving some ideas for the quick passages, preparing the left hand better and deciding on some phrasing right from the outset, often this is something I add in later on, especially for technically tricky bits. I also had the pleasure of working with Edith Salzmann, cello professor at the University of Auckland. She too was very encouraging, pointing out how there comes a point where we should shift the focus from the left hand to the bow, the fingers can do their thing essentially on autopilot, and sound production will be optimal. She also advised me on the importance of 'leading' the orchestra.
As the concert date drew nearer there were many times of doubt and nerves, but finding the will to keep chipping away, I knew somehow it would all come together.
The performance itself was the most emotionally and physically draining thing I think I've ever done. By no means perfect (at the previous rehearsal, I'd peaked too soon), but good enough. The audience loved it, I was literally trembling at the end, played a short encore of Bach Sarabande from Suite II, then as recent tradition dictates (round the cellists I know) I joined the back of the orchestra for the second half - a symbolic effort only, as my brain had crashed entirely.
In the days following a serious come-down ensued.
So now looking ahead...
As far as performance goals, I do have something in mind and will certainly be sharing that with you as it unfolds.
My main goal for 2019 is to keep on top of my timetable, being rigourous with planning and organisation, so that I minimise risk of things falling through the cracks, also benefitting my students, and being careful not to take on too much. And, just as importantly, keeping fit and healthy, more regular exercise (also for my poor somewhat neglected dog), and eating healthy which also requires forethought and preparation especially on those rehearsal heavy weeks.
As always if you enjoyed this post please click the like button at the bottom and subscribe to my feed. If you'd like to share your goals for the coming year or you have any questions, just add them in the comments section below, I love to know what your big plans are for 2019. Let's make this another great year to remember.