Performing How You Practice
I used to learn music in layers. First the notes and rhythms, next the dynamics, then the phrasing, etc. Interestingly this method of practicing didn’t translate into performing confidence.
We perform the way we practice. In order to perform the way you imagine, you have to practice the way you want to perform. Seems logical, doesn’t it? This semester I have had the opportunity to break this down even more for myself as I lead 3 weekly sections of Body Mapping class.
I find that the missing piece is awareness. I am not talking about the awareness of mistakes or pitch problems, I am talking about awareness of the space you play in, connection to the ground, quality of movement, and effort you use.
Don’t save being aware of the space for the dress rehearsal or performance. Do: Start being aware from the moment you decide to make music. In other words, take in the space you are currently in, no matter how small and cruddy. Practicing with this enables you to take in any space you perform in. If you practice in a small bubble you will perform in a small bubble.
Do: Cultivate a great connection with the ground that is fluid and responsive. This sets you up for moving well, including ALL the movements of playing. Making this a part of every moment that you practice will allow you to feel and relate to the floor in performance. Sensing your relation to the ground clearly informs you of tension and bracing or whether you are enjoying support from the bones of the skeleton.
Notice how you are moving as you practice? Are you logging in time and repetitions or are you aware of the efficiency and precision of the movement you use? Movement holds the solutions to all technical and expressive challenges. I want to say that again, movement holds the solutions to all technical and expressive challenges. If you are working on building reliable technique or a broader palette of sounds and dynamics, how are you moving? My favorite way to do this is to take a short video, then watch it without sound.
Identify just the right effort level to create the sound I want, coordinate fingers, embouchure, and tongue right from the beginning allows physical flexibility to be a part of your playing. This flexibility allows you to connect with the audience, and respond to the music in the moment.
This used to seem like a lot to pay attention to. Believe it or not, learning in this way yields more reliable performances, requires less time because the learning process is about embodying the music rather than learning it fragmented parts.
Next time you are going to practice…
Open your awareness: see, listen and feel.
Start slow. Slow down the tempi so you can hear, see and feel. Notice signs of overwork, sounds you want different, and even confusion about where the phrase is going or the subdivision.
Most of all, Be curious…