Practicing after a break

Tags

goals, motivation, new insights, practice journal, returning after hiatus, slow practice

Source: Pixabay. Public domain. Let’s go!

Today I am starting to practice again after a break.  This post explores some aspects of returning after taking time off.

Not perfect?

Although we may vow to practice every day without exception, we all find ourselves taking a break from time to time, whether planned or due to illness, other responsibilities, being on hold with ConEd, travel, etc.

Feeling guilty? 

In the past, I would get angry with myself.  Not helpful!  That leads to yelling at yourself when staying calm would be the way to go.  When you acknowledge that everyone has days off, getting back into the loop is much less of a struggle.

What we can expect

What can we expect when we start again?  (Note that I did not say “start over.”)

Perfection?  Probably not.  However, if you are going back to music you have practiced recently, you can expect improvement!  Somehow, “ignoring” the music for a while lets it “cook.”  You will most likely find new insights when you return to it.

Jell-O fingers?  Yes… so I use the first practice session to concentrate on my warmup.  Skipping the warm-up after time off just doesn’t work well for me.  I need to feel the muscles in my fingers, so I exaggerate the movements.

Playing at performance tempo?  Even if that were possible, wouldn’t we be inviting wrong notes, fingerings, errors in dynamics and phrasing?  Practicing under tempo is useful, but extremely slow practice is not necessary.  I’ve already learned the notes.  But right now, performance tempo invites mistakes that I’d rather not add to the mix.

First day back

I usually dislike my playing that first day.  That is frustrating, but by now I expect it.  By the second day, it starts to sound better.

The first day back also seems to be a good time to assess fingerings.  If something feels uncomfortable (a level or two below “rusty”), this may be the time to experiment.  See whether a different fingering feels better.

Dynamic changes may not sound smooth.  In addition to that, if a notated dynamic contrast is completely missing, mark the spot in your music!  That means you didn’t learn that spot well enough.  This is a great time to eliminate the “oops” and fix the gap.  When you’ve remedied the problem, that phrase will usually fit into the whole more easily when you return to performance tempo in a few days.

I find it extremely motivating to set a goal, such as a performance date.  With a concert in place, I am far less likely to return to vacation mode.  (I have an aversion to making a fool of myself on stage.  Wonderful incentive!)

It is also helpful to keep a practice journal.  You’ll be able to see your progress.  I have found that dropping and then returning to a program speeds my progress toward my performance goal.  If you have a journal from the time you started learning the notes, you will be able to eliminate guess work and have accurate feedback.  (Do you remember what you did a week ago?  A month ago?  Keeping a written record is very helpful.  There is no reason to expect oneself to remember everything.  Remembering the notes is enough!)

Mix it up!

In an online piano forum, participants were exchanging ideas about how to return to practicing after a break. (What’s the secret? How can I make this easy?) Differing viewpoints emerged, as one might expect. Looking through the comment thread was invaluable.

One participant advocated starting out exclusively with etudes. Another suggested practicing only new repertoire. Someone else planned to play familiar music, waiting to add new pieces until s/he was back in shape.

While reading the thread, it seemed that perhaps taking something from everyone might be best.  In that way, etudes are included but not intimidating. Familiar music needs to be there so we feel like we know how to play! And new repertoire keeps us making progress.

What do you think?

This post has been updated from 2010.

What do you do when returning to practice after a break?  How do you help your students get back into it?  How much time do you need to get back to normal?

Comments welcome!

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Please take a look at my e-book!

“Goal-oriented Practice”
Are you practicing well? Is your imagination working for you?

My book will help you take a step back, save practice time, learn more music, and perform with confidence. Whether teaching, playing solo, or collaborating with other musicians, you will find many practice- and performance-tested suggestions here.

50% off!!!  Absolutely NO JARGON!  Even my non-musician little sister says so.

Click here for the book intro, table of contents, reviews, and reader comments.

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Backwards Day!

Tags

Music, pedagogy, teaching

A delightful seven-year-old, arriving for her lesson, immediately announced “This is Backwards Day!”  Who knew?

I went with it, of course.  Resistance would have resulted in one unhappy student.  What actually happened?  We had tons of fun!

What transpired

• We said, “Goodbye!”
• We shuffled her books so the top one was in back
• We chose a piece from the back of the book
• She played the end first
• We went backwards, line by line
• “I love it” became “It love I”
• Fast became slow, and vice-versa
• Loud was soft
• Cresc. was dim.
• She tried a piece with her hands crossed (good practice!)
• She taught me how to play something while she sat in my chair
• She asked me questions like she was the teacher
• And then we said, “Hello!”

Why backwards?

• Backwards is good!
• Start in different places
• Vary repertoire
• Play different dynamic schemes, different rubato, different tempi
• Try the opposite if Plan A isn’t working
• Find fingering backwards ~ where do you need to end?
• Nail the endings by practicing them first
• Practice movements, songs, and sections in reverse order for more flexibility and security

Why backwards works

• Reversing the order of movements assures “equal time” when something interferes with your practice session
• Going backwards is fun!
• Shaking things up enhances concentration
• The usual expectations of the same thing in the same way every day are avoided

Do you sometimes practice backwards?  Do you help your students mix it up?  Please share your thoughts in the comment section below!

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My E-book

“Goal-oriented Practice” helps you practice backwards, forward, and upside down. Whatever works!

50% OFF!  Even my non-musician little sister says, this book contains NO JARGON.

Please click here to see the intro, T of C, reviews, and reader comments.

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Further discussion: ergonomic instruments, injuries, perfect pitch

Tags

Don Ehrlich, ergonomic instruments, ergonomic viola, injury, music education, pedagogy, perfect pitch, recovery, surgery, updates

Town crier in Plymouth, Devon, England, 2014. By Sullivanthepoet. (Own work.) [CC0], via Wikimedia Commons

New information updates previous blog posts!  Recent input informs the way we handle injuries, where each of us is in the perfect pitch conversation, and ergonomic instrument development.

First, Don Ehrlich, who plays an ergonomic viola, posted this comment on Facebook:

Don:  Hi Gretchen, An interesting point in time that this [link to my guest post] reached my computer. You don’t know this: The injury to my right thumb got worse and worse. For example, I played a performance of Bach’s 3rd Brandenburg Concerto, where in rehearsals I couldn’t get my bow to behave as I wanted it to. (It did work out in the performance, thank heavens.) Turns out to have been a broken tendon. I found a Very Good hand surgeon in Kaiser South San Francisco. He operated on me on April 13. I’m only now in recovery, trying to regain my skill, strength and endurance. Today I had an appointment with my physical therapist, one recommended by my surgeon. He is weaning me off my range-of-motion exercises and giving me strengthening exercises. Life is never easy, I guess. There is a new-styled frog for violin/viola bows, the Galliane frog. It’s supposed to be ergonomic, though I don’t know how. I was hoping to have it in place already, for my recovery, but that hasn’t happened yet. I can keep you posted, if you like.

Gretchen:  Thanks for being in touch, Don. I was unaware that tendons could break. Best of luck, and yes, please keep me posted.

OK if I add your comment to your guest post?

Don:  Of course.

My physical therapists usually like to say to avoid surgery at all costs. Well, for me it became intolerable, and surgery became necessary.

Gretchen:  Thanks, Don. I know 2 other people who have had tendon surgery (a finger was trapped in closed position for both). They are completely back to normal now; one is a pianist.

I’m glad you did it, given the circumstances.

Don Ehrlich’s guest post:

http://gretchensaathoff.com/2009/11/07/guest-post-by-don-ehrlich-s-f-violist/

A previous post about playing with pain and ergonomic instruments:

http://gretchensaathoff.com/2009/10/31/are-you-playing-with-pain-ergonomic-instruments/

A related article:

Ergonomic Advice for Specific Instruments
http://www.artist-musikerhalsan.se/en/musician-ergonomics/3-ergonomic-advice-specific-instruments

Another Facebook find, from Beth Parker:

Science Has Great News for People Who Can’t Sing
http://www.interlude.hk/front/science-great-news-people-cant-sing/

A related discussion:

Perfect pitch and relative pitch: how do they differ?
http://gretchensaathoff.com/2015/05/14/perfect-pitch-and-relative-pitch-how-are-they-different/

and my e-book!

“Goal-oriented Practice”
Are you practicing safely? How do you approach physically demanding works? Do you power through when the pressure is on? How do you guide your students?

This book will help you take a step back, save practice time, learn more music, and perform with confidence.

50% off!!!

What did you find here?  What would you like to see? Comments welcome!

If this post has been helpful and you think your friends and contacts would benefit from reading it, please share.

I would greatly appreciate it. Thanks!

Many thanks to Don Ehrlich and Beth Parker. 

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She was always picked last

The Opera Singers by
Thomas Rowlandson. Source: Wikimedia Commons

The great Christine Brewer presented a wonderful master class at The Hartt School on Tuesday.  She included some thoughts about her college days with the many insights offered during the afternoon.

Ms. Brewer attended a very small college, where she played the violin!  She participated in many groups.  Along the way, one professor (who taught many classes and directed several groups) told her that maybe she should take voice lessons.

She went on to say that she had a tiny voice.  No one could hear her.  And because of that, she was always picked last.

That resonated with me in a few ways.

My first thought was that, in seventh grade, the same thing happened to me.  I played flute, piano, and organ.  During that summer, I attended music camp at the University of Iowa for the first time, playing flute in the band.

We were required to audition for seating within each section.  I had no idea how to audition, so I just showed up, no doubt playing very badly.  I was thrilled when they read my name third!

And then I realized that there were 50 flutes, and I was walking to the back row of the section.

It worked out.  That summer, I studied with a professional flutist, a huge step up.  The following summer, I was seated in the front row.

Piano has always been my best instrument.  The music camp experience provided direction for my future.

Another thought that came to mind was the commentary I have read concerning competitions.  There is usually only one winner.  A small number of other competitors finish second, third, and in the honorable mention category.

Reality check:  when someone enters a competition, s/he may not truly be ready for a major career at that moment.  Concert Artists Guild mentors its competition winners for that reason.

Some of the interviews, articles, and blogs written about coming in second or third say that people who finish below first actually have a better chance of sustaining their careers than the first-place winners.

Something to think about.

Stretches for finger and hand flexibility and range

Tags

automobile accident, finger stretches, hand injury, keyboard span, stretching

A stretching lion at Ouwehands Dierenpark. (Photo credit: Wikipedia)

Inspired by my friend Louise

A friend asked the other day how she could stretch her fingers following an automobile accident which put her hand in a splint for several weeks.  She has lost the span needed to play Beethoven on the piano. Since she plays for her own enjoyment, ways to maintain flexibility and range were something she needed to check out.  Her first thought was, “I’ll never be able to play again!”

Most people are familiar with large muscle stretches for sports, for example.  Hand stretches might be a little different.This is what I told her.  Perhaps something in this post will be helpful to you or someone you know, as well.

To stretch your fingers ~ yes, you can do that.  But you have to be careful.  The hand injury specialist who treated me said to stretch to about 80% of your max.  Small structures can’t be over-stressed, because they can be permanently injured.

With one hand cupped (imagine holding a tennis ball), turn your hand palm-side down, level w/the floor.  Support your upper arm and elbow against your body.  No gripping! You are not holding the ball, just imagining the shape.

With your opposite hand, gently stretch one finger at a time, keeping finger curved when stretching back, away from finger tips, toward back of palm.  (So your middle joint aims for the ceiling, fingernail ends up near 3rd joint.)

Next, stretch the same finger down to palm, so fingernail almost touches inside of wrist. Straighten finger, keeping it relaxed. Now stretch the same finger, using your opposite hand, to the left and then right.Stretching in all directions is important to maintain the balance in length of the tendons. Each stretch can be repeated, gently, 2 or 3 times in one session.  You could do a couple of sessions each day.

You can soak your hands in hot water for a few minutes On a cold day or in a cold room, avoid going into stretches with cold hands. And, for instance, you wouldn’t want to stretch in front of a cold blast of air from an air-conditioner, or in front of a fan.

Don’t expect instant progress… you haven’t been using your hand for a while.

Stretching both hands adds a 15% benefit!

Don’t overdo it or go too fast out of frustration.  That’s the hard part for me.  Robert Schumann, the composer, became frustrated that his 4th fingers wouldn’t lift off the keyboard as far as 2, 3, and 5.  He built a wooden machine to stretch his 4th fingers, and ruined his hands for life.

When you have finished stretching, take a break.  Any strenuous activity with your hands needs to begin no sooner than 10 minutes later.

While you are regaining your flexiblity, go ahead and play your instrument!  You can leave things out. Playing something is so much more fun than not playing at all and becoming worried that you won’t be able to.  Given a little time, your flexibility will return.  It takes attention to the situation and caring for your hands where they are right now, today.

Surgeons play finger games to maintain flnger flexibility.  So, while playing an instrument may seem like a niche activity, maintaining flexibility is also applicable to other professions.

Hope this helps!

Comments?  Please use the “Leave a Comment” link at the top of this post.

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Crucial stretches for every keyboard user

Tags

articles, links, related posts, staying healthy, stretching

This post is for musicians and computer users.

“Keyboard user” is a conscious decision for inclusion in the title (rather than “keyboard player”) because  computer operators need to stretch.  So do organists, harpsichordists, pianists, electronic keyboardists, and others who use the small structures of their hands and arms in repetitive fashion.

Keyboard users move their hands and arms (and backs and shoulders and necks and heads) primarily in one direction, often for long periods of time.  Work, music, and play can become mesmerizing.  We forget to take breaks, or postpone them to do “one more page.”  And then, an hour later, we’re still at it.

We have all seen athletes stretch.  That makes sense, right?  We are also athletes.  We use smaller structures that are not built for the amount of stress we put on them.  Stretching helps address the problem.

New discussion

A discussion of stretches recently came up on Facebook.  This link takes you to a new article on the subject.

I am delighted to see ongoing interest in stretching.  Everyone benefits by having the topic back at the top of their “to do” lists and reading about others’ experiences.

My friend Michael Meltzer and I continued the discussion.  Michael said:

My last teacher was the late Louise Curcio in New Jersey, who began every lesson with about ten minutes of stretches. She explained, “We are creatures of habit. When you are not properly stretched, you’ll begin your practice in slightly incorrect or imprecise arm & finger positions and configurations. Your brain will remember those incorrect lineups and unconsciously seek to recreate them, interfering with learning and mastering your pieces.”

… looking at it carefully, I think the exact words SHE would have used would have been “arm and finger postures” instead of finger positions & configurations (my words).

Used by permission. Thank you, Michael!

Why stretch?

When playing or using a computer, our muscles and tendons adjust to accommodate our repetitive, uni-directional motions.  The muscles and tendons on the top of the forearm and hand lengthen, while on the underside, they shorten.

This results in an imbalance which can result in injury.

The stretches we need to do help things return to normal.  We need to stretch in the opposite direction from the way we have been moving while playing an instrument or using a computer.

The following comes from a previous post about ergonomics as applied to keyboard use.  As school revs up and we all become busier, combating stress and tension are even more important.

We can maintain our ability to play an instrument or use a computer for decades by being aware and looking for variety as we proceed.

Awareness of warning signs is important to avoid injury.  Once someone incurs an injury, s/he becomes more vulnerable to further injury in the future.  So even if you think it could never happen to you, please read on.

Be aware

• If you feel numbness, tingling, or pain, you need to take a break.
• If anything hurts, even a stiff neck, you need to look at that.
• Practicing mindlessly for hours on end without a break is never a good idea.

Incorporate variety

What’s your plan?  How do you practice?

Going at something as fast and loudly as possible will get you injured in no time.

Here are a few ideas about staying safe.

You can practice:

• hands alone
• slower than performance tempo
• loud/soft
• changing range on the keyboard
• alternating difficult passages with less stressful ones
• mixing up a stint of staccato practicing with legato (use your body in different ways)
• for leaps and glissandi, measuring distances and calculating timing by faking it (above the keyboard ~ no need to play all that often)
• feeling chord shapes in your hands, also above the keyboard
• more carefully when you’re tired

You can:

• alternate practicing and gripping activities with passive activities, such as reading or taking a walk, talking on the speakerphone.  For example, lifting weights and practicing are both stressing your body, thus making you more vulnerable to injury.  Your body needs a break in between.
• play with your hands and arms in a natural position (you don’t have to be exactly lined up with the keys!)
• look at your practice setup ~ lighting, chair height, your distance from the keyboard (do you have room to navigate?)
• always use healthy body alignment (feet on the floor, supporting your body ~ no slumping forward, no legs wrapped around chair legs, no feet on chair rungs, no head on hand on elbow resting on the piano)
• look at the music away from the piano
• conduct, sing, walk the rhythm, clap, speak the text in rhythm, try dynamic changes out with your voice
• take a 10-min. break every hour
• practice in more than one chunk of time during the day
• eat 3 healthy meals every day (don’t skip a meal in order to practice!)
• exercise!
• stretch your body and warm up your hands before practicing (5 min.)
• stretch your arms, shoulders, and back after practicing (5 more min.)

Computer use

The same awareness is important here.  Look at your setup, use good body alignment (don’t lie on your bed, resting on your elbows).  Take breaks.  Move your arms, shoulders, and back when you type, like you would on an old manual typewriter with tiered keys.  Stretch before and after computer work.

Computers probably demand more fast work without breaks than practicing an instrument.  No one talks about good body alignment in workplaces.  Deadlines are much more important.  (Fed-Ex leaves in 5 minutes!  Are you done yet?)  And, unless you’re self-employed, you’re likely to have someone who wants you to produce more, faster than you need to be going.  Pressure means vulnerability to injury.

Why not take a look at your usual approach to the computer during your time off, at home?  Try looking at yourself in the mirror, or ask a friend to help.

At work, you can set your phone alarm to alert you once an hour.  Stand up, walk around, stretch, breathe, and something relaxing.  Take a break!  The up side of leaving your work where it is for a few minutes is, you won’t turn into a pretzel!

What do you think?  What is your approach to practice and computer use?  Do you have certain ways of going about it that work particularly well for you?  Do you take breaks?

Please share your thoughts and experiences in the comment section below!

You can read more articles on this blog about ergonomics here.

Also, while you’re here, please take a look at my E-book!

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A golfer overcomes freezing under pressure. Musicians can, too!

Tags

freezing under pressure, golf, Music, music education, the yips

I am one of those people who reads The New York Times every day.  Because articles often catch my eye while flipping through the paper, subscribing only to the online version would be unsatisfactory.

When scrolling through headlines on the web, the gist of an article or a photograph will be lost.  So, since I am not a scientist, for example, I probably would not click on a title about plasma physics.  Seeing a photo that catches my eye, or maybe an article summary on the page itself, results in my reading more of the paper and being more informed.

That’s how this article came to my attention.  I am not a golfer.  But as it turns out, professional golfers  and professional musicians have a lot in common.

Winning Battle of Nerves Against Himself, a Player Is Again Taking On the Tour

The New York Times, May 5, 2013

An important point made in the article, to me, is that Mr. Karlsson asked someone to help who could address his specific problem.  Asking his best friend or his cousin may not have had the same effect.

What do you think?  Please share your thoughts in the Comment Section below!

These related articles express 2 different points of view:

• 5 Traits Every Great Golfer Must Possess (bleacherreport.com)
• Why Do Top Athletes Suddenly Develop the Yips –a Tendency to Choke under Pressure?
  (scientificamerican.com)

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Robert W. Oliver republishes his wonderful review of “Goal-oriented Practice”

Tags

music education, music lessons, piano pedagogy

With a big shout-out to Robert, this is the correct link.

http://t.co/Cr0aEze

Q&A: Neck pain and the piano

Tags

health, neck pain, pain management

A Pain That I’m Used To (Photo credit: Wikipedia)

Any type of pain associated with playing an instrument needs to be addressed.

Let’s talk about neck pain in this post, though, to keep things manageable for readers.

Onset

When and how did your neck pain start? What were you doing at the time?

What do you do when not playing the piano? For example, do you drive long distances? Work at a desk? Use a computer for long periods of time?

Possible causes

Your work setup, car seat, steering wheel angle, different mattress, different pillow, bicycle handlebars, even not wearing sunglasses outdoors can all be factors.

Look at your practice setup.

• Bench too high or too low?
• Enough light?
• Music at a comfortable height?
• Have you had your eyes checked recently?
• Body alignment
• Drafty room
• Cold room
• A glare on the music
• Recent changes in technique
• Practicing too long without a break
• Learning a lot of notes all at the same time
• Sight-reading for hours

A look at some other factors

• Not getting enough sleep.
• Not eating regular meals.
• Being under the weather.

• Anemia
• Virus
• Having a cold
• Coming down with something
• Dental issues
  

Possible solutions

• Ask a friend to watch you play
• Videotape yourself playing
• Make small changes as indicated above
• Stretch before and after practice
• See a doctor who treats musicians
• Get a massage
• See a chiropractor
• Work with a physical therapist or sports trainer to strengthen back and shoulder muscles

Letting pain continue while proceeding as usual is not a solution, but will exacerbate the problem. Even if you are busy, have several performances coming up, or can think of a list of reasons not to address the pain, you must. Your longevity as a musician depends on it.

Have you experienced neck pain from playing the piano? What did you do about it?

Please share your thoughts in the comment section below!

Summer Concerts

See complete details about Rocky Hill Concerts. 4 Sunday afternoons in July in air-conditioned comfort!

E-books

“Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer” gives every musician a fresh perspective!

My book frees up time to learn more music, memorize, or do something else entirely!

“Goal-oriented Practice” is also available in print!

Goal-oriented Practice

sold in 8 countries!

Review by pianist Robert W. Oliver

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Trying something new? Proceed with caution!

Tags

Education, Music, pain management, pedagogy, piano

Stretching Exercise ~ Image via Wikipedia

My students, as well as contributors to a piano discussion forum in which I participate, often talk about the same dilemma.  When trying something new, they have physical pain! 

This should not be the case.

People’s first reaction, and I include myself, is that the pain will go away.  It doesn’t.  Don’t ignore pain!

I have encountered pain from time to time.  My hand tires when practicing octaves or a strenuous piece (think Beethoven’s “Kreutzer” Sonata).  There are ways to handle this.

Pain is a warning!

Pain is a warning sign, not something that will go away by practicing more in the same way.  Pain is not acceptable, and you should not expect to “get used to it.”  Isn’t your playing more important than plowing ahead no matter what?

Complaints I’ve heard involve:

• new hand positions
• unfamiliar chords
• arpeggios
• new fingerings
• unfamiliar articulation
• staccato
• marcato
• octaves
• repeated notes
• double thirds

Many of us, myself included, tend to practice until we get it right.  We lose track of time, and have no idea how often we have repeated the same passage.

My suggestions:

• Look at your practice setup.  Is the bench at a good height for you?  Is there enough light?  Are you away from cold drafts and the air conditioner?
• Remove yourself from the “I have to get this NOW” mindset.
• Stay aware of the level of tension in your body.
• Limit the amount of time you spend on a new passage to a few minutes, not 1/2 hour or more.  (10 to 20 minutes is plenty.)  Set a timer if necessary.
• If you feel pain, STOP IMMEDIATELY.  You need to stretch* (illustrated above ~ turn forearm over and stretch hand down, too), take a break, have a snack and some water, and either stop for the day or work on something completely different.
• “Something completely different” means something in an easy hand position, slow practice, playing with the opposite hand, etc.
• You can always return to the problematic passage later in your practice session (IF there is no pain), or in a day or two.
• Practice smarter.
• If your new passage has you crossing one hand over the front of your body, that is a big reach.  You need to relax and experiment with the angle of your hand, arm, and body.  This will take longer than 5 or 10 minutes, but when you do find a comfortable angle, you will no longer be in pain.
• Slow down.
• Relax between notes, chords, hand positions.
• Block everything, playing all notes together, then thumb alone (which pivots your hand to the new position), then another block, then thumb, etc.
• Mark rather than play.  Or just mime on top of the keys.  You can learn a lot this way!
• Look at the music away from the piano.
• Listen to recordings ~ either several of your piece, music of the same composer, or maybe something else to relax your brain.

If you have been trying something new and are experiencing pain, I hope this post provides insight and encourages you to approach new technical requirements differently.

All of us need to be alert to pain, addressing it immediately to avoid injury.

*Stretches should each be done twice, at 85% capacity, for 30 seconds.  The purpose is to return the tendons, stretched in one direction while playing, to normal range of motion.

I do stretches whenever I feel pain, as well as after each practice session.

Have you encountered pain when learning a new technical feat?  How did you handle it? 

Please share your thoughts in the comment section below!

E-books

Learning a new piece? New program? Heading back to school? Looking for teaching ideas? Then this is the perfect time to read “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer!”

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

How to Maintain Your Piano

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