All About Technique
I’m taking a deep dive into technique building exercises, so you don’t just have to keep practicing in the same ways over and over.
If you’ve been following the blog, you saw my last post on introducing a series I’m sharing on creative practice.
As promised, this is indeed a series! So today, we’ll be looking at some great ways to build up your technique. I’m going to try to keep this post fairly general rather than geared towards a specific instrument.
I want to highlight a really wonderful artist and her blog, Dr. Molly Gebrian. She is a neuroscientist and viola professor at the University of Arizona, and has done some incredible research on music and the brain. She has this awesome list she compiled called “The Amazing List of Practice Techniques”, which I’ll be highlighting today in addition to other great practice ideas I’ve found.
Intonation
I didn’t learn how to really practice intonation effectively until I was in high school. My playing was about 80% accurate, but I couldn’t quite reliably meet that last 20%. This was because I was resorting to simple repetition to practice intonation, rather than analyzing my movement patterns, hearing the notes in my head, and problem solving.
Some things to try:
- Playing with a drone
- Mentally hearing each note ahead before you play
- Visualizing the passage conceptually (e.g. what intervals were there and what it’d feel like to play those intervals).
Visualizing what it would feel like to play a passage comfortably and in tune was a game changer for my intonation, technique and comfort on my instrument.
Rhythm
You’ve probably heard “use the metronome” a LOT from the music teachers in your life!
Dr. Gebrian has an interesting idea for using the metronome. Instead of automatically playing with the metronome clicking each beat, instead, set the metronome so the clicks come farther apart – every downbeat, every other downbeat, every three measures, etc.
Interleaved Practicing
This technique, adapted from pro baseball players, involves selecting several skills, passages or techniques. Rather than focusing on passage A for a while then moving to passage B, then C, try randomizing how you practice the skills: BAC, CABACB, etc.
For an additional challenge, try setting a timer for 10 minutes or less for each section. Keeping your brain busy by randomizing the practice and working under a time limit mimics the amount of concentration your brain does in a performance situation.
To read more about this practice technique, check out this article by Dr. Gebrian.
Target Practice
This technique is a fun way to practice “hitting the bullseye” with your pitch and shifting accuracy. It is most effective with intonation practice. Essentially, you attempt to hit the pitch you’re working on without prepping a hand setup or plucking/working up to the pitch first.
This could also work with bow or instrument placement – find that ideal spot as quickly and accurately as possible.
I have found that this technique is most effective with mental imaging and audiating (sound new? More on those techniques later!).
Burst Practice or "Chunking"
When attempting to play at a faster tempo, I’ve found that burst practicing is much more effective than clicking up the tempo on the metronome. Pick a passage that you need to bring up to tempo and find a small group of notes that you are able to play accurately and musically at performance tempo. Play that chunk until you can do it cleanly, then add a note, then two, then three. Then attempt playing two sections up to tempo, etc.
Alternately, you can practice one section followed by a single note until it’s clean and up to tempo, then practice two sections plus a note, etc.[1]
Recording Yourself
I know. I hate doing this too. But it does actually work. Self awareness is one of the most important tools we have as musicians, since it enables us to be our own teachers. Get your phone out and start with recording 5 minutes of your own playing and grin and bear watching yourself play. Be gentle with your critiques – your brain will thank you.
Bonus points for posting your practice online for accountability.
These techniques were among some of the unique methods I found that would apply to all musicians. If you’d like to see posts on practice techniques for violin and string players, let me know! I would love to hear your feedback.
Happy practicing!
To see the other posts in this series, see below:
[1] Dr. Cora Cooper, KS State University