Mastering Music: Proven Practice Techniques for Every Musician

 

Mastering Music: Proven Practice Techniques for Every Musician

As a teacher, I'm constantly begging my students to practice regularly and efficiently. I always tell them that it's not the length of time they practice but the quality of time. It's better to practice for 25 minutes a day, than for three hours on one day of the week. In my opinion, the best bang for the buck is to cycle or loop difficult sections of music or lesson material when practicing. This is sometimes really boring for the student, but I'm telling you it always works.

Developing effective practice techniques is essential for musicians aiming to enhance their skills and reach their full potential. By employing strategies backed by research and the experience of successful musicians, you can optimize your practice sessions to learn faster and perform better.

Mental Practice Techniques

Mental practice is a powerful technique that allows musicians to rehearse music in their minds without physically playing their instruments. You can always spot the drummer at the grocery store playing air drums! Well, research shows that mental practice activates similar brain regions as physical practice and can lead to significant improvements in performance. To engage in mental practice, start by calming your mind (that’s a tall order!) and imagining yourself in your practice environment. Vividly envision yourself playing through pieces, hearing every note and feeling the corresponding movements. If you make a mistake, pause and rewind, fixing the error before proceeding. Regularly incorporating mental practice can help reinforce memory, solve technical problems, and prepare for performances. You can practice mentally anywhere—whether on a walk, traveling, or whenever your instrument isn't available.

Mental practice is a valuable tool for musicians of all levels to enhance their skills and artistry. As a kid, my first teacher would always talk about mental practice. I was like, “WTH?”

Effective Use of Audiation

Audiation, the ability to hear and comprehend music in your mind, is a crucial skill for musicians to develop. By strengthening your audiation skills, you can better understand the music you're learning, memorize pieces more effectively, and even compose or improvise. To practice audiation, start by singing simple melodies in your mind, gradually increasing the complexity. Guys - some of us know this as ear training. We all do it, but I feel it’s great to actually practice and improve upon this. As you learn new pieces, take time to study the score away from your instrument, hearing each note and harmony internally. Regularly engaging in ear training exercises, such as interval recognition and sight-singing, can also enhance your audiation abilities. With consistent practice, you'll find that your musical understanding, memory, and creativity all improve as a result of effective audiation.

Incorporating Varied Practice

Incorporating varied practice techniques is a highly effective way to deepen your learning and prevent stagnation in your musical development. Varied practice involves approaching a piece or passage from diverse angles, such as practicing hands separately and together, vocalizing rhythms, modifying tempos, and using different articulations. By mixing up your practice methods, you cultivate greater control and a broader understanding of the music, forming multiple neural connections that enable you to perform securely even under pressure. Interleaving practice tasks within a session by alternating between different pieces or sections is another beneficial strategy that strengthens memory and allows for frequent revisiting of material. Combining varied and interleaved practice keeps you engaged, addresses specific weaknesses, and leads to more efficient, secure learning.

Benefits of Practice Looping

Looping, or cycling, the practice of repeating a short section of music multiple times, can be a highly beneficial technique for mastering challenging passages and developing muscle memory. By focusing on a specific phrase or measure and playing it repeatedly, you give your brain and body more opportunities to learn the correct movements and reinforce the neural pathways involved. This repetition helps ingrain the music deeply, allowing you to play with greater accuracy and automaticity. Looping also enables you to isolate problem spots and give them the extra attention they require without constantly starting from the beginning of the piece. When looping, aim for mindful, deliberate repetitions with a specific goal in mind, such as correcting fingering or improving tone. Incorporate breaks or variations intermittently to maintain focus and prevent mindless practice. With consistent, targeted looping, you'll find that difficult sections become more manageable and your overall performance becomes more secure and polished.

Effective Practice Pays Off

Incorporating effective practice techniques is essential for musicians striving to reach their full potential. By employing strategies such as mental practice, audiation, varied and interleaved practice, and looping, you can optimize your learning and achieve greater mastery of your instrument. Consistently applying these techniques will lead to improved memory, technical facility, musical understanding, and confidence in performance. As you continue on your musical journey, remain open to exploring new practice methods and refining your approach based on your individual needs and goals. With dedication, mindfulness, and a commitment to effective practice, you'll unlock your true potential as a musician and experience the joy of sharing your artistry with others.

Sources

1. Bulletproof Musician - Mental Practice and its Benefits: Bulletproof Musician

2. The Musician’s Way - Varied Practice Techniques: The Musician’s Way

3. Your Thought Partner - Effective Use of Audiation: Your Thought Partner

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Jonathan Butler: Reflections on My Early Days in the Music Business

In a recent post, I reflected on my early days in the music business and credited jazz violinist Noel Pointer for giving me my big break. It was after a week-long stint with Noel and the boys at Sweetwater, a jazz club near Lincoln Center, that Jonathan Butler invited me to join his band on their first U.S. tour. We were to open for Whitney Houston on her "I Wanna Dance With Somebody" tour. Johnathan Butler, a talented singer, songwriter and guitar virtuoso from South Africa, was signed to Jive Records by Clive Davis, the same music mogul who discovered and signed Whitney. Most of the music Jonathan featured on tour was in the smooth jazz genre, infused with R & B. We rehearsed in NYC before hitting the road with Whitney as her opening act, where we played a 30-minute set every night to warm up the audience.

Despite performing in huge venues and stadiums, being the opening act had its downsides.  We had to deal with very short set lists, little or no soundcheck, poor front-of-house sound, and often terrible monitor mixes.  However, it was still an incredible opportunity and an unforgettable experience. Almost everyone asks me questions like, "How was Whitney? What was she like? Did you get to know her?" I'd like to answer these questions, and more, in a separate blog post, where I can dedicate more effort to setting the stage, and adding context and details. Stay tuned!

Around this time, I was living in a less-than-desirable neighborhood at 101st Street and Central Park West, NYC.  My music studio was in another dump, The Music Building on 8th Avenue, near the the Port Authority Bus Terminal.  However, living close to the iconic Mikell's jazz club, and enjoying long lunches near my studio at Hero Boy or Manganaro's on 9th Avenue, were small but much needed rewards.  In a year or so, I would visit a friend in Journal Square, Jersey City, where I would soon be living for many years ahead.  At the time, I had no idea what was to come. 

Thanks for reading!

Mastering the Art of Social Drumming: Jeff Porcaro's Drum Clinic Guide

Here's one of Jeff Porcaro's drum clinics as he shares his thoughts on the importance of "social" drumming in connecting drummers with music and musicians. At the 3:30 mark, he makes a crucial point about how drummers can employ this technique to enhance their drumming skills and develop a deeper understanding of music.

"Social" drumming involves listening to other musicians in the band and adapting one's drumming to fit the overall sound and style of the music. It requires drummers to be aware of the other instruments in the band and play in a way that complements them. By doing so, drummers can create a sense of unity within the band and make the music sound better as a whole.

In his clinic, Jeff Porcaro emphasizes the importance of being "social" when drumming and explains how it can help drummers connect with the music and musicians on a deeper level. By listening and adapting to the other instruments in the band, drummers can create a cohesive and harmonious sound that elevates the music.

Chip Taylor: The Songwriter Behind Wild Thing and Angel of the Morning

Chip Taylor is a well-known songwriter, famous for his hit songs Wild Thing and Angel of the Morning. He has an extensive collection of songs to his name, but these two tracks are perhaps the most recognizable. In addition to his musical contributions, some people may recognize him as the brother of famous actor Jon Voight. I had the pleasure of working with Chip on his London Sessions album, recorded at his studio in Mamaroneck, NY. 

The album features the soulful vocals of Lucinda Williams, and the masterful guitar work of my good friend, John Platania. I also had the opportunity to play a few concerts with Chip, including one where Anton joined us on percussion, making for a lively and unforgettable experience. Chip's dedication to live recordings with an authentic feel that captures the essence of his music was apparent during our sessions.  Aside from his music, Chip is an expert statistician and often used his skills to win at the race track. 

During my time in the Rondout area of Kingston, NY, I frequented the original Clubhouse in Germantown for recording sessions and developed a friendship with the owner, Paul Antonell, who shared my love for coffee. In a previous blog post, I wrote about my favorite eateries in the Hudson Valley, but I failed to mention the relaxed atmosphere and excellent coffee at Bread Alone in Uptown Kingston, where I often spent my mornings. 

 

From Noel Pointer to Jersey City: My Musical Journey with Famous Artists and Local Friends

 

As a young and inexperienced drummer, I got my start in the music business thanks to the great violinist, singer, and story teller Noel Pointer. He hired me for his band, which had plenty of gigs across the United States, from jazz clubs to concert halls. Noel had a devoted fan base and even wrote and staged a musical with his good friend, the actor John Amos, featuring an alien violinist and his best friend on Earth. I recall a show where John and Noel argued before the curtain rose, but as soon as they faced the audience, they performed flawlessly and magically.

Besides playing with Noel's band, I often had the pleasure of jamming with other acts on the bill, such as Bobbi Humphrey, Tom Browne, and Lonnie Liston Smith, with whom I later toured extensively. Speaking of touring, I also played with Tom Browne solo and shared the stage with many talented musicians and friends at my brownstone in Jersey City, NJ, where I had a studio and a garden for BBQ parties. Some notable guests and clients included Ben Folds, The Silos, Freedy Johnston, Tony Maimone, Graham Maby, Helen Hooke, Joy Askew, and They Might Be Giants. I enjoyed living in Bergen-Lafayette, Jersey City, and frequented some fantastic restaurants and hang-outs, such as New Park Tavern, Laico's, and Citizen Kane (now McGinley Square Pub). Moreover, I recorded many sessions at the original Water Music studio in Hoboken, NJ, and at my own Running Dog Studios on Bergen Avenue, J.C. 

Looking back, I'm honored and privileged to have played music with Noel Pointer and grateful for the memories and experiences I gained in Jersey City. Stay tuned for more posts on this topic!

My Encounter with Davy Jones of The Monkees

In the 90s, I had the privilege of working with Davy Jones, who was not only a talented performer but also a gentleman and a genuinely good person. I vividly remember my first gig with him, when I accidentally barged into his dressing room thinking it was for the band. Instead, I found Davy sitting there all by himself. I apologized, but he quickly declared that it was OUR dressing room and that there was no other room for "the talent." We had a quick laugh together and enjoyed an easy, comfortable, pre-show chat.

Davy was an amazing storyteller, singer, and performer, and it was a real honor to work with him. During one conversation, he mentioned how The Beatles were actually the first fabricated boy band, not The Monkees, which surprised me at the time.

I was living in the Rondout neighborhood of Kingston, NY, close to the Esopus River, during this period. As someone who loves the Hudson Valley, I highly recommend it. If you're ever in Uptown Kingston, be sure to check out La Canard Enchaine, one of my favorite restaurants. I also had the opportunity to work at local recording studios like Bearsville Studios and The Clubhouse.

Favorite Track

Steve Gadd and Billy Cobham on drums with Ron Carter on bass, among an all-star cast of musicians.  Great selection of swinging tunes.  This was the first album that really got me into jazz.

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Me, John Yates, Todd Novak