Author of The Collaborative Piano Blog

31DaystoBetterPracticing
byDr.ChrisFoley

Copyright2011byDr.ChrisFoley. ThisworkislicensedundertheCreativeCommonsAttributionNoncommercial3.0 License.Formoreinformation,visitthefollowingwebpage: http://creativecommons.org/licenses/bync/3.0/

TableofContents
Dedication AboutChrisFoley HowToReadThisBook Day1:BuildingaRegularPracticeSchedulePart1 Day2:BuildaRegularPracticeSchedulePart2 Day3:WarmingUp Day4:ShortTermGoals Day5:MediumTermGoals Day6:LongTermGoals Day7:FindYourRepertoire Day8:FirstStepsGettingNewRepertoireonitsFeet Day9:SlowPracticing Day10:SilentPracticing Day11:WorkBackwards Day12:TakeYourPerformanceforaTestDriveEveryDay Day13:WhyMemorizationIsImportant Day14:MemorizationasanEmotionalPlace Day15:20WaystoHelpYouMemorizeMusicFlawlessly Day16:ThingstoRememberAboutFingerings Day17:InterludesSomeThoughtsonTeachingandLearning Day18:PracticinginDetailAQuickMethodtoGettingStarted Day19:BuildSightReadingIntoYourPracticeSession Day20:MakingEndingsWork Day21:OrganizeYourPracticeTimeLikeaStageDirector Day22:NonStructuredPracticeTime Day23:RecordYourself Day24:AddToYourSkillsbyLearningTheory Day25:5WaystoAddLengthToYourPracticeSession Day26:15WaystoAdd10MinutePracticeBlocksToYourRoutine Day27:RuntheProgram Day28:DevelopingAnArtisticSensibility Day29:AddCollaborationToYourActivities Day30:TakingStockofYourAccomplishments Day31:FindYourMuse,FindYourProcess Afterword

Dedicatedtomystudents,whohavetaughtmemorethananyprogram, classortextbookevercouldhave.

AboutChrisFoley
Amongthemostpleasurablethings aboutmakingalivinginthemusical fieldisthefactthatmymusical activitiesaresoincrediblydiverse, andIalwayshavetheprivilegeof workingwithafascinatinggroupof studentsandprofessionals.Icurrently teachatmyhomestudioinOakville, aswellasatTheRoyalConservatory inToronto.ImanexaminerwithRCM ExaminationsinCanadaandwith CarnegieHallRoyalConservatoryintheUnitedStates.AtTapestryNewOpera,Ima memberofthestudiocompany,whereIcoachandperforminmanynewlycommissioned operaticworksonaregularbasis.Everyyear,Iadjudicateinatleast34musicfestivals andcompetitions,aswellasgivelecturesandworkshopsonavarietyoftopics. ManyofyoualreadyknowmefromTheCollaborativePianoBlog,aventureIstartedin 2005,whichhasgrowntobecomethetopclassicalmusicbloginCanadaandoneofthe topclassicalmusicblogsintheworld.Afewyearsback,Ialsoappearedastheprimary pianistinseasons1and2ofBathroomDivas,aBravo!Canadarealityshowaboutopera singers. Ifyouenjoythisbookandwouldliketoeitherworkwithmeorkeepintouch,herearesome waysyoucandoit: StudywithmeatmyOakvillehomestudio ReceivefreeCollaborativePianoBlogupdatesviaemail SubscribetotheCollaborativePianoBlogviaRSSreader Emailme:collaborativepiano[at]gmaildotcom

HowToReadThisBook
31DaystoBetterPracticingbeganinlate2007asamonthlongseriesonthe CollaborativePianoBlogaboutwaystomakeone'spracticetimemoreenjoyable, efficient,anddiversified.Theoriginalseriesconsistedofarticles,links,anecdotes, thoughts,andvideosofdifferentartistsperforming.Sincethen,I'vebeenhonoredtohave receivedmanylettersfromstudentsandteachersthathavefoundtheseriestobeagreat helpintheirwork.Muchofthisinputhasledme,fouryearslater,torewritetheseriesasan ebook. However,IwascompletelyunpreparedforaquestionanewstudentattheRoyal Conservatoryaskedmeinalessonawhileback:Whatisthebestwaytoread31Days? Daybyday?Allatonce?WhenIwrotetheseries,Iwasonlythinkingofputtingmythoughts inorderforthecurrentarticleanddecidingwheretogoforthenextone.It'sonlywithsome distancefromthewritingprocessthatIrealizetheimportanceoffindingentrypointstothe seriesasawayofinfluencinghowpeopleutilizeit. Sowithoutfurtherado,herearesomepossibilitiesonhowtoread31DaystoBetter Practicingandincorporateitintoyourpracticeroutine. 1.Startatthebeginningandreadonearticleeveryday.Iwantedtowritethe31 articleswithaclearbeginning,middleandend.Thefirstfewarticlesdiscusshowtoset asidetimeforregularpractice,moveontowarmingup,andgoalsetting,thenmoveonto differentwaysofpracticing,andendwithtechniquesforputtingeverythingtogether.There's somuchinformationinthearticles,links(withevenmoreinformation),andfoodforthought inthevideoselectionsthatitmightbeusefultoincorporatesomeofthetechniquesovera longerperiodoftime. 2.Readtheentireseriesinonesitting.Manyofus(includingmyself)enjoyinformation overload.Readtheentireseriesinonesitting,thenfigureoutwhat'susefultoyouinyour practicing. 3.Startwiththearticleswiththeinformationthatyoufindthemostusefultoyou. I'mallinfavorofgettingdowntobusiness.Don'tbotherwithtechniquesyoudon'tfeelhave anyvaluetoyou,butcuttothechaseandutilizewhatyouneednow. 4.Readthelastarticlefirst.FindYourMuse,FindYourProcesstakestheseriesinan

entirelydifferentdirection,andendswiththeimportanceoftheartisticjourneythatunderlies theentireprocess.WhenIfinishedthefinalarticle(whichoriginallyincludedanembedded LinkinParkvideothatbothinspiredandconfusedmanypeople),Ihadahorriblefeeling thatperhapsIshouldhavestartedtheentireserieswithFYMFYPasanintroductionand hadeverythingfollowfromthepremiseoftheartist'sjourney.Ifthisisthereadingyou prefer,byallmeansstartwiththeendingandmoveonfromthere.

Day1:BuildingaRegularPracticeSchedulePart1
Ifyou'relearninganinstrumentandyouwanttoimproveyourplaying,learnmusic,orget moreenjoymentoutofplaying,theonethingyouneedtodoaboveallelseispractice.This meanssettingasidesometimenearlyeverydayforqualityworkonhoningyourcraft.Many ofthethingsIwouldliketoimpartinthisbookdealwithfunwaystomakeyourtimespentin thepracticeroommoreenjoyable. However,theonethingthatmustalreadybeinplacebeforeanyniftypracticetechniques willactuallyworkisaregularpracticeschedule.Infact,today'sthemeisprobablymore importantthananythingelseI'llbetalkingaboutthismonth,andifyougetnothingelseout ofthisseries,thisistheconceptthatwillyieldthemostgrowthinyourplaying: Themostimportantelementofpracticeisthatitbecomesadisciplined,engaging,and fulfillingtimespentwithyourinstrumentonasregularascheduleaspossible. Showingupishalfthebattle. Herearesomewaysthatpeopleofdifferentagesandschedulescanfitpracticetimeinto aregularschedule.

Students12andUnder
Oneofthemostvaluablethingsthatparentscanimparttotheirchildreninmusicalstudyis asenseofscheduleandstructureindaytodaymusicallife,andthatthetimeberewarding andfun.Iseetoomanyyoungstudentsfallbythewaysidesimplybecausetheirparents don'twanttohaveanykindofengagementintheirkids'musicalactivities. Parents:herearesomeoptimalpracticetimesinayoungstudent'sdailyroutine: 1.Firstthinginthemorningbeforeschool.They'llneedtogetupearliertodothis,but workitintotheirscheduleandyou'llhavekidsburstingwithmentalenergyastheyheadoff toschool. 2.Firstthingafterschool.Assoonastheycomehomeintheafternoon,gettingtheminto thehabitofpracticingwillalsofitnicelyintoaregularschedulewithouttakingsignificant timeawayfromhomeworkorotheractivities.

3.Rightbeforedinner.Anokaytime,butnotoptimalbecauseofobvioushungerissues andsusceptibilitytointerruption. 4.Immediatelyafterdinner.Alsoausefultime.. 5.Midevening.Anotherverygoodtime,buttakesplanningtofitinhomework.Bewareof theseductivenatureoftelevisionandcomputergamesatthistime. 6.Rightbeforebed.Apossibletime,butnotoptimalunlessthereisnoothertimetofitin thepracticesessionbecauseofotheractivities.Somekidsthathavealotofenergyatthis timeofdaymightactuallybenefitfrompracticebeforebed.Althoughmixingandmatching practicetimeswillwork,foryoungerstudentsitisprobablybetterinthelongruntostick withoneortworegulartimesofday.

HighSchoolAgeStudents
Asstudentsgothroughhighschool,theirholdonaregularpracticeschedulecanbe tenuous,withcompetitionfromhomework,sportsandotheractivities,socialtime,internet time,andcomputergames. Herearesomeoptimaltimes,bearinginmindthatmorepracticetimewillbeneededfor advancedstudents: 1.Beforeschoolathome.Gettingupahalfhourearlyasateenagercanbeachore,but worththeeffort. 2.Beforeschoolatschool.Manyschoolshavepracticefacilities,andteachersgladlylet responsiblestudentsusethem.Thisisagreattime,becausetheyareatschool,can usuallyconcentrateiftheyhaveprivacy,andhaveachancetogetawayfromparental supervision(veryimportant). 3.Duringfreeperiodsatschool.Again,ittakesdiscipline,butthiscanbeaprofitable time. 4.Rightafterschooluponarrivinghome.Anexcellenttimeofdaytopracticeaslong astherearenoconflictingactivities.

5.Midevening.Anotherusefultime,butfacesstiffcompetitionfromgamesandsocial networks. 6.Lateevening.Thisstartstobeanexcellentpracticetimeforteenagersoncetheyget intothezone,especiallyforthosewhowilleventuallybecomenightowls.Warning:can distractsiblings. Finally,IwouldliketotalkabouttwothingsInoticewithstudentsthatcanseriouslygetinthe wayofregularwork: Notenoughparentalengagementatanearlyage.Ican'tstresshowimportantthisis. Musicteachersarenotbabysitters,andparentsoftendon'trealizehowmuchofapositive modeltheycanbethroughtakinganactiveinterestintheirsonordaughter'smusicallife. Extremeoverbooking.Theoppositeproblem.Iseenumerousstudentswhoareinvolved inwaytoomanyextracurricularactivitiesfortheirowngood.Kidsparticipatingintoomany activitiesoftenhavedifficultydevelopingconsistencyworkingonanyoneactivitybecause theyarealwaysbeingshuttledtothenextone. Fortheparent,itisgoodtodevelopasenseofbalance,remainingengagedingettingtheir kidspracticingandthinkingaboutmusic,butwiththeultimategoaloflettingthemdoitby themselveswithouttheprodding.Proudindeedistheparentwhosesonordaughterworks hardattheirinstrument,hasfunatit,andfeelsthesatisfactionthattheydiditfor themselves.

Day2:BuildaRegularPracticeSchedulePart2
Yesterdaywelookedatwaystobuildaregularpracticeroutineintothedayofamoderately busyyoungstudentanywherefromages5to18.Todaywewillbelookingatpossible practiceschedulesofcollegeagestudentsandadults.

UniversityMusicMajors
Whenastudententersauniversity,college,orconservatoryasamusicstudent,acertain amountofcommitmentisalreadyexpectedgiventheamountoftimeandmoneyneededto obtainaBachelor'sdegreeinmusic.Herearesomeoptimalpracticetimeallocationsfor thecollegestudent: 1.Earlymorningbeforeclassesstart.Let'sfaceitlookingforpracticetimeinaschool ofmusicsucks.Everyonewantsaroom,andnotmanyareavailableatpeaktimesofthe day.Agreatstrategyistoarriveatschoolfirstthinginthemorningandstartpracticing beforeanyoneelsearrivesandbeforeclassesstart.Thatway,youcantakeadvantageof optimalearlymorningconcentrationandgotoclasseswithafairamountofworkalready done. 2.Betweenclasses.Ifyougotoaschoolthatschedulesregularpracticeroomtimes,you cantakeadvantageofholesinyourscheduletobookpracticetimeatthebeginningofthe yearandplanpracticetimejustlikeyouwouldanyotheracademiccommitment.Thisisa bitmoredifficultifyouattendaschoolthathasfirstcomefirstservedunbookedpractice rooms,whichsometimesrequirethecreationofsecretpracticeroomsocietiesinorderto actuallyacquirearoom. 3.Weekends.Theweeklyprimepracticetime,especiallyifyoudon'thavetogotowork. Showupinthemorningandpracticeuntilyoudrop. 4.Latenights.Forcollegestudents,oftenthebestpracticeworkgetsdoneintheevening, asstudentsadjusttotheirnightowlschedule.Arriveatyourroomrightafterdinnerand keeponpracticinguntilyouandyourbuddiesdecidetogotothepub.Workseverytime.

Adults

Oneofthelargestgroupsofpeoplelearninghowtoplayaninstrumentorsingthesedays consistsofadults,someofwhomcomebacktoitafteryearsofhiatus.Whatmakes mattersharderformanyadultsishowtofitinchildcarewithfittinginapracticeschedule. Thisisabigissuewithmanyofmysemiprofessionaladvancedstudents.Morningfor parentsandworkingadultscanbesheermadnessandpracticingtendsnottobeanoption unlessyouareretired.Herearesomewaystomakeagrownuppracticeroutinehappen: 1.Practiceforshortdurationswhenthekidsaresleepingorinvolvedin independentactivities.Forparentsofbabiesandtoddlers,themidafternoonnapisa greattimetohavesomequalitytimetositdownandgetsomeworkdone. 2.Practicewhenthekidsareatschool.Dropemoffandgettowork. 3.Practiceintheevening.Earlybedtimesareusefulforthisifyouhaveyoungerkids.I recentlyreceivedaqueryregardinghow"superbusy"musicteacherscanschedule practicetime.Hereismyresponse: Ifyou'reamusicteacher,oneofthebesttimestoschedulequalitypracticetimeisanhour orsobeforeablockofstudents.Practicingbeforehandwillnotonlywarmupyourplaying mechanism,butgetyourmindgoingastohowyoucanbetterimpartideas.Practicingafter teachingisanotherokaytimetogetworkdone,althoughyoumightnotwanttothinkof anythingmusicrelatedonceyourlaststudentleaves.It'simportanttorememberthatevery successfulmusicteachermuststillmoveforwardartisticallyandregularpracticeisthe placetodothat. Aboveall,learningtofindpracticetimesasanadultrequiresadvanceplanninganda cleverbalancingact.

Day3:WarmingUp
Justasanathleteneedstowarmupproperlybeforemoreseriousexertion,amusician needstowarmupbeforeplayingorsingingallout.Playersofdifferentinstrumentsutilize differenttypesofwarmupsandcanlearnagreatdealfromthewaytheyarestructured.For example: Stringplayerstendtoplayscales(oftenataveryslowtempo)atthebeginningofa practicesessionnotonlytobuildtechnique,buttobuildintonationandtheprocess ofdeeplisteningthatwillimprovequalityofsound. Unlikeinstrumentalists,singersneedtobuildtheirowninstrumentinsidetheirown body,andtheirwarmupstendtoemphasizebreathmanagementandtone production,whichhelptoguidethebreathmechanismanditscomponentpartsinto aworkablewholeovertime. Pianistsneedtodevelopagreatdealoffluencyandplaymorenotespermusical workthananyotherinstrument.Forthisreason,traditionalpianotechniqueconsists ofscales,chords,andarpeggiosplayedinallkeysinavarietyofways,notto mentionfingerdexterityexercisesinordertobuildfingerstrengthand independence. Ivealwaysfeltthatchangingupthetypesofwarmupsyouusewhenbeginningyour practicetimecangreatlyimproveyourapproachtotherestofthepracticesession,since itsthemindthatisbeingwarmedupinadditiontotheplayingmechanism.Herearesome suggestionsforinterestingwarmuproutines: 1.Playstandardtechniquebeforeplayingrepertoire.Thisisbyfarthemostcommon warmup.Playawidevarietyofscales,chords,andarpeggiosappropriatetoyour instrumentandlevel,repeatingthemnotmechanically,butreallylisteningforaccuracy, qualityofsound,intonation(ifyou'replayinganintonationsensitiveinstrument).Thegoalof technicalexercisesisawarenessasmuchasdexterity. 2.Playtechnicalexercisesorstudiesbeforeplayingrepertoire.I'vealwaysbeena fanofHanonexercises(especiallythefirst20)andtherearealimitlessnumberofways youcanpracticethem,suchaswithvariousarticulations,inall12keys,orwithrhythms.I likethesenseofcontactwiththeinstrumentthatIdiscoverwhenwarmingupwithHanon exercises,aswellasthefactthattheyexercisemyfifthfingers,unliketraditionalpiano techniquewherethefifthfingerhitsrarely,ifatall.

3.Doaphysicalwarmupsuchasyogaortaichi.Manyteachershavetalkedabout thebenefitsofstretchingexercisesbeforepracticeandifyoucanincorporatetheminto yourroutine,youcandrasticallycutdownonthechanceofphysicalinjuryfromplaying. 4.Problemsolvingtime.Jumptothemostproblematicareasofyourcurrentrepertoire andfixthespotsthataregivingyouthemostgrief.Takethemapartandpracticethemin newandinterestingways. 5.Playsomethingentirelyenjoyablewiththemostbeautifulsoundyouare capableof.Thenlaunchintoyourregularwork.ThelegendaryviolinistItzhakPerlmanis saidtostarthispracticesessionsinthismanner. 6.Sightreadasawarmup.Doneoverthecourseofweeksormonths,youcanimprove yourreadingskillstoanincredibleextentbysettingasidetimetosightreadeveryday.And whatbettertimetodoitthanatthebeginningofyoursession. 7.Slowpractice.Justasathletestakeitslowatthebeginningofatrainingsession,so shouldwe.Workonashortsectionofapiece,whetherproblematicornot.Practicing slowlycanallowyoutobeintotalcommandofyourinstrumentanddevelopgreater awarenessofwhatthereisinthemusicandyourapproachtoit. 8.Changethingsfromtimetotime.Therearesomemusicianswhoboastthattheyhave asetwarmupthattheyhavebeenfollowingforyears.Whatadullwaytostartyourpractice day.Themoreinterestingyoucanmakeyourfirstminutesattheinstrument,thebetteroff youllbelateron. 9.Nowarmup.Ifnoneoftheaboveresonatewithyou,itmightbeworthwhileto reconsiderthevalidityofwarmingupatall.Whybeburdenedbytheneedtodoafixed activityatthebeginningofapracticesessionwhenitfeelsbettertojumprightinandget workdone? What'syourmethodofwarmingup?

Day4:ShortTermGoals
Oneofthebestwaystojumpstartapracticeroutineisbyworkingtowardssomething,and thereisnothinglikesettingadeadlineinordertogetworkdone.Todaywewillbelooking atshorttermgoalsandhowtheycanfocusyourpractice. Herearesomeexamplesofcommonshorttermgoals: LearntheExpositionofasonatamovement MastertheornamentsinaBaroquepiece Playalltheindividualvoicesofafugue Gobacktoaslowpracticetempoinaperformancereadywork Sortoutthelefthandofatrickypiece Playapiecewithsolidrhythmataslowtempo Increasethetempoofapiecebyseveralmetronomemarkings Masteradifficultpassageonceandforall LearnthatdarnedFminorformulapattern Play4notechordsandcadencesinall12minorkeys Memorizethefirstmovementofasonata Fitinregularpracticetimesallweek Sightreadeverydayforaweek

Notlifechanginggoals,butgoalsnonethelessthatmovealongyourplayingandtakeyouto thenextstep.InGettingThingsDone:TheArtofStressFreeProductivity,authorDavid Allentalksabouttheimportanceofimmediatelyidentifyingnextactionsandcompleting themasawaytoincreasedproductivity.Settingafewshorttermgoalscanveryquicklyput youontheroadtogettingoutofarutandimprovingsteadily.Teacher'sremarksinlesson notebooksareclassicexamplesofthisstudentsignoretheirteacher'sconciseweekly assignmentsattheirperil... Whatareyourshorttermpracticegoals?

Day5:MediumTermGoals
Yesterdaywelookedatwaysofkeepingyoureyesonshorttermgoalsinordertohave youreyesonthenextactionontheroadtoperformingexcellence.Havingyoureyesona prizethatrequiresworkingoveraslightlylongerperiodoftimecanalsogeneratethe desiretokeeponpracticingregularly. Whataresomegoalsthatyoucanworktowardssatisfyingalongertimeline,say,threeto sixmonths? 1.Exams.Oneofthebestwaystomeasureprogressisbytakingstandardized examinationsforanaccreditedorganizationsuchasRCMExaminations(knownas CarnegieHallRoyalConservatoryAchievementProgramintheUS).Preparingforthese typesofexaminationsrequiresyoutoplayseveralpiecesfromdifferentstyles,studies,and technicalexercises,aswellastakeeartrainingandsightreadingtests.Theeffortrequired tobuildtheskillstopasseachlevelcanprovideaveryrealchallenge,andcanprovide benchmarksforbeginning,intermediate,andadvancedstudents. 2.Festivalsandcompetitions.Playinginclassesspecifictoageandlevelatfestivals sponsoredbyMTNA,NATS,Kiwanis,andRotaryclubscanequipyouwiththechallengeof competingagainstothermusiciansandreceivinganadjudicationfromanauthorityinthe field.Thissecondopinioncanoftengiveyouthereinforcement(orkickintherump)tokeep youmovingalongtothenextlevel.Andwhatcancomparetothethrillofwinningaclass againststiffcompetition?Evenifyoudon'twin,theworkyoudidinpreparingforcompeting willhavealastingeffectonyourqualityofplaying. 3.Recitals.Ifyoudon'tlikecompetitiveplaying,Ihighlyrecommendplayinginrecitals. Theseincludeformalrecitalsorganizedbyschools,teachers,andorganizations,in additiontoimpromptuoccasionsforfamily,friends,etc.Inmyownstudiorecitals,Ibreak upmystudentsbyage,soyoungerstudentsplayforeachotheratthebeginningofthe concertandadultsplayforeachotherinthesecondhalf(astheytendtobemore comfortablearoundthosetheirownage).Ifyou'relearninganinstrument,whynotshare yourloveofplayingwithothers? 4.Auditions.Ifyou'redoingwell,whynottakeitupanotch?Opportunitiesaboundfor honorbands,orchestrasummerfestivals,operas,andmusicals.Prestigiousprograms suchastheRCM'sYoungArtistsPerformanceAcademyorJuilliard'sPreCollegeDivision

aretoughtogetinto,butofferarewardingeducationforthoseabletopassthetough audition. 5.Personalachievementmilestones.LearningalltheGrade10leveltechnique,playing yourfirstBeethovenSonata,gettingthroughyourgraduaterecitalfrommemoryamonth beforetheconcert,hittingthathighCwithasolidvibrato,orplayingthroughtheconcertoin publicareallgoalsthatdependnotonother'sacclamation,butonbeatingyourown personaldemons.ClaudeDebussyoncesaidthat"Inart,onehasmoreoftentofight againstoneself,andthevictoriesonewinsareperhapsthemostbeautiful."Aboveall, createthechallengeandchancesareyoujustmightfindthewaytofulfillit. 6.Processmilestones.Manyadultstudentsdontfeelcomfortablewithplayinginexams, festivals,orrecitals.Instead,theywouldratherlearntheirinstrumentnoncompetitivelyfor thesheerjoyandprideofbeingabletoplayit,aswellasthediscoveryofthemusical learningprocess.Studentsofthistypestillneedgoals,soitcanbeworthwhiletogivethem achievableprocessorientedgoalssuchaspracticingeverydayforamonth,goingtoaset numberofconcerts,orlearningacorneroftherepertoirethattheyareinterestedin. Whatareyourmediumtermpracticegoals?Aretheycongruentwithyourshortterm goals?

Day6:LongTermGoals
Inthelasttwodayswe'velookedatwaystosetviablepracticegoalsfortheshortand mediumterm.Whataresomegoalsthatwecansetforthelongterm,ie.oneyearormore inthefuture?Thisisanimportantstageofthegoalsettingprocess,butonethatisfraught withdanger,asonehastowalkafinelinebetweenvalidoutcomesandselfdelusion. Generally,themoreambitiousthegoal(performingattheMet,CarnegieHall,signinga DeutscheGrammophoncontract),themoreitneedstobebrokendownintomany,many moresmaller,digestiblegoalsinorderforthefinaloutcometocometopass. Let'stakeanentirelymanageableambitionformanystudentsgettingacceptedintoa universitymusicprogram.Herearesomewaysthatyoucouldbreakabiggoalintoa longtermprojectcomprisedofsmallerachievablegoals: Researchuniversitiesontheinternet Sendawayforinformation Findwhichteachersmightbeappropriate Contactpossibleteachersforapreauditionlesson Figureouttheapplicationprocess Filloutapplicationforms Getlettersofreference Writechequesforapplicationfees Learncorrectrepertoireforeachaudition Filloutfinancialaidforms Makeprescreeningauditiontape(quitecommonthesedays) Sendoutapplicationswellbeforethedeadlineprocess Scheduleauditiononcecalledbyuniversity Getcheapestflightstocollegedestinations Bookhotelsatcollegedestinations Doauditions Onceaccepted,sendinacceptanceletterwithdeposit Lookformorefinancialaid Applyforgovernmentorprivategrantsafteracceptance Raisetuitionmoneyfrompotentialdonorsafteracceptance Gotocollegeprogram

I'mtiredalreadyafterwritingthatlistandgladthatI'mfinishedwithmycollegeeducation. Butlookingatthatlargelist,youdiscoverthatonebigdreamcanbeeasilymanagedifitis brokenupintoabunchofsmaller,manageabletasks. Ican'temphasizehowimportantitistoberealisticwhensettinglongtermgoals.Hereare someexamplesthatdependonindividualinitiativeandcanberealizedwithdetermination andhardwork: Learnaconcerto Learntheariasforarolethatisabittoolargeforone'svoice,butwhichonewill growintointhefuture Learnhowtomakekickassoboereeds LearnthewholeWellTemperedClavier Playtheviolinwithdeadlyaccurateintonation Developintoaprofessionallevelsinger Developastylisticbreadthofexperienceinmultiplepercussioninstrumentsfrom manycultures. However,whenourgoalsdependontheactionsofothers,itismucheasiertoexperience seriousdisappointments.Herearesomegoalsthathavethepossibilityofsettingoneself upfordisappointment: Gettingintothatworldfamousschoolofmusic Gettingthatelusivetenuretrackcollegeposition Gettingahighpaidpositioninanorchestra Havingaconcertcareer Gettingatopagent

Nevertheless,ifweneverhavegoalslikethese,wewillneverhavethedrivetosucceed. Iamnoticingthatthispostisquicklyturningintoanarticleonmusicallifegoalsratherthan justgettingsomethingoutofpracticing.ButIfeelthattheurgetoimproveyourplaying throughpracticingoftenparallelstheurgetodeveloponeself,tomakeamark,experience satisfaction,andliveafullyrealizedlife.Therefore,I'mgoingtoendthispostwithanother longtermgoal,onewhichIfeelhasnohighercalling: Tobeabletoplayone'sinstrumentatahighlevel,givingpleasuretooneselfand others,andwithahealthytechniquethatwilllastintooldage.

Atitscore,theartofplayinganinstrumentdependsonthelevelofenjoymentonehasin playingbothgreatmusicandtheprocessofplayingtheinstrumentitself.Atthislevel,the degreeofprofessionalsuccessonehasisimmaterial.FromRueckert'spoem"Ichbinder Weltabhandengekommen",sobeautifullysettomusicbyGustavMahler: IchbingestorbendemWeltgetmmel, Undruh'ineinemstillenGebiet! Ichleb'alleininmeinemHimmel, InmeinemLieben,inmeinemLied! (Iamdeadtotheworld'scommotion,AndIrestinaquietplace.Ilivealoneinmyheaven,In mylove,inmysong.)

Day7:FindYourRepertoire
Somanyofuslearnandplaymusicalworksnotbecauseit'sthestuffwelove,butbecause we'retoldtodoitandit'ssupposedtobegoodforus.Ofcourse,thereisnothinglikea widevarietyofmusicalexperiencesandit'sgoodtoplayBach,aswellasBeethoven, Chopin,andDebussy.However,therearethoseofuswhowillonlyfindourmuseifwelook fartherafield. I'mafirmbelieverthatonedoesn'treallycomeintotheirownonaninstrumentunlessthey findtherightrepertoirethatwillpropelthemtothatplace.Speakingfrommyown experience,IgotseriouslyboggeddowninmyteenageyearslearningmusicthatIdidn't enjoyplayingverymuch.ThenIdiscoveredcontemporarymusic.Muchtotheconsternation ofmyparents,teachers,andfriends,Idevelopedaseriouslikingforlisteningtoand playingthemusicofourtimethathascontinueduptothepresent.IfIhadneverdiscovered this,thereisalmostnochanceIwouldhavedevelopedmyskillstothelevelwhereIcan playandteachforaliving. MostoftheprofessionalsthatIknowhavesimilarstoriesaboutfallinginlovewithacertain corneroftherepertoireanddevelopingtheirskillstothelevelwheretheycanactuallyplay it.Herearesomepossiblerepertoireandstyleniches:

Piano
Learninghistoricalperformancepractices,especiallyastheyrelatetoplayingthe precursorsofthemodernpianosuchasharsichord,clavichord,andfortepiano. Learningmusicfromcountriesnotinthemainstreamofmusicalcreation,butwhose composersneverthelessproducemusicofthehightestcaliber:Canada,The Netherlands,Spain,Portugal,Brazil,Cuba,Scotland,orJapanhaveallproduced composerswhohavewrittensomefinepianomusic. Learningjazzandpopularstylesalongsideclassicalplaying.Includesragtime, novelty,swing,bebop,freejazz,smoothjazz,Cubanjazz,BrazilianBossa,gospel, popular,R&B,anime,andvideogamemusic. Learningcontemporarymusic,workingwithlivingcomposers,discoveringmusicfor electronicsandpiano,andcommissioningnewworkforthepiano.

Voice

 Learninghistoricalvocalpracticeinordertoeffectivelyperformmusicwrittenprior tothemideighteenthcentury. Learnvocalmusicinalanguagethatgenuinelyinspiresyou:French,German, Italian,Spanish,Portugese,Russian,Czech,Polish,Hungarian,Ukrainian,and Englisharealllanguagesthathavesizableartsongandoperatictraditions. LearnavocalstylethatisattheperipheryofWesternartmusic.Fado,Ladino, Persian,andYiddishstylesareafewofmanydistinctpossibilitiesforexploration. Workwithcomposersandlibrettiststocreatetheoperaticrepertoireoftoday. CompaniessuchasTapestryNewOperaWorksandQueenofPuddingsMusic TheatreinTorontospecializeinthisnicheandarealwaysonthelookoutforsingers whohavetheskillstoworkshopandperformnewworksfortheoperastage. Explorationanddiscoveryarethenameofthegameformanysuccessful performers,andboundarypushingratherthanconformitycanbethepathtoartistic discoveryformanyyoungmusicians. Withtherapidexplosionofinformationontheinternet,itismucheasierthanitwas20 yearsagotofindinformationaboutyourfavoritegenreortimeperiod.Wheredoyour interestslie?

Day8:FirstStepsGettingNewRepertoireonits Feet
Someofthemostdifficultpracticinghappenswhenyou'relearningabrandnewpieceand tryingtoworkitintoyourfingers.Someofthedangersincludeoverexertion,boredom, frustrationatlackofprogress,givingup,aswellastheeverpresentpossibilityoflearning thingswrongthatwillneedtobeundonelater. Formypianostudents,oneofthemosteffectivewaysofgettingtotheheartofanewwork onthefirstdayofpracticeisnotthroughdividingitupintodigestiblechunks,butbyreading throughtheworkinitsentiretyrightoffthebat,problemsandall.Thatway,Iengagewiththe work'schallengesrightaway,andaftercollapsingfromexhaustionattheendofthereading sessionIcanveryquicklyarriveatanorderofbattlewhenproperlylearningthework. ThisapproachparallelswhathappensinmanyreadingsofnewworksthatIparticipatein throughvariouscompaniesandensembles.Thefirstrehearsalalwaysstartswithafull stumblethrough,mistakesandall,soeveryonehasaclearideaofwhattoexpect.Thenthe workoffinelycraftingandpolishingtheperformancebegins. Thisapproachpresupposesacertainlevelofadvancementofbothplayingandreading ability.Youngerstudentsmightfindthisapproachdifficult.Yet,evenatearlylevels,students canwithalittlegoadingandencouragement,readallthewaythroughanewwork.Myolder studentsdotheinitialreadthroughathome,anditdefinitelyshowsinareductionoftime neededtolearnaworkwithoutspoonfeeding.Mostofthemareactuallyimpressedattheir ownabilitytobitethebulletandavoidnotelearningprocrastination.

Somequestionstohelpyouorganizeyourlearningprocess
Willyoustartlearningfromthebeginning,themiddle,orend? Whatpartsoftheworkareduplicatednotefornote? Whatpartsoftheworkaresimilar? Shouldyoulearntheworkhandsseparatelyorhandstogether? Wherearetheeasiestplaces? Wherearethemostdifficultplaces? Whatisyourtimelineonlearningthework? Whatisyourtimelineonhavingtheworkperformable?

 Howmuchwillyoulearneveryday? Everyweek? Whereinthelearningprocesswillyoufeelconfidentwithmemorization?

Morethoughtsoninitiallearning
Listentorecordingsoftheworkbeforeplayingit.Notjustone,butseveral performancesarebesttohearinordertonotimitatestylesandmannerismsof certainperformers. WatchperformancesonYouTube.Theperformancelevelsofdifferentperformers willdifferwildlyonYouTube,buttherearesomewonderfulgemsthathaveonly cometolightsincevideosharingtookoffafewyearsago. Singersshouldspendtimeontranslatingthetextbeforetheysinganewsongor aria.Seemy2005postonSomeIdeasonHowtoLearnaSongorAriaformore information. Stringplayersmightwanttohavebowingsandfingeringsalreadycopiedintotheir partbeforelearningthemusic.Manyteachershaveafixedsetofpreferredbowings andfingeringsintheirownpartthattheylendtostudents.Someofthesefingerings havebeenhandeddownfromfamousteacherssuchasHeifetzorGalamian.

Day9:SlowPracticing
Oneofthesinglemosteffectivepracticetechniquesisthatofslowingdownwhatyouare playinginordertodevelopgreaterawarenessandsolveproblemsefficiently.Whileyou're practicingataslowertempo,Ican'temphasizeenoughhowimportantitisto1)playwitha solidsenseofpulse,albeitslower,and2)playwiththesamearticulations(ie.slur, staccato,legato)andcharacterthatyouwouldatfulltempo. Oneofthemainreasonsthatslowpracticingissoeffectiveisthatitallowsustohear thingswithagreaterdepththanwhatwewouldusuallyhearatfulltempo.Passagesthat aredifficulttoputtogethercanoftenslideintoplacewhensloweddown.Ourhearingof detailcanbeboostedconsiderably,andwecanhearthingsthateludedusbefore. AnotherelementthatIemphasizeduringslowpracticeistosuspendjudgmentregarding ourpersonalopinionsofourplaying.Takeyourselfoutofthepicture.Giveyourself permissiontofailandproceedwithasenseofgentlenessandobjectivity.It'sokayifyou can'tplayacertainpassageyetsomethingisn'tinplaceandtheslowapproachisagreat waytofindit. MildredPortneyChaseinJustBeingatthePiano(myalltimefavoritebookonpiano playing)wroteawonderful4pagechapteronthejourneyofslowpracticing.Herearetwo noteworthyquotes: Bypracticingasmallsegmentafewtimes,youmayrealizegreaterimprovement thaninmanyrepetitionsofthewholephrase.Itispossibletojamthemind's programmingbypresentingitwithmorethanoneproblematatime.Oneinchonthe pagemayrequiremoredifficultadjustmentsthantwelveinchessomewhereelse.It isimportanttoknowhowmuchyouarereallyunderstanding.Howevermuchtime yourmindneedstoabsorbthematerial,thatishowmuchtimetoallowyourself. Showyourselfthesamekindofpatiencethatyouwouldagoodfriendwhocouldnot movethroughthematerialasfastasyouwouldwish... ...Slowpracticeallowsyourknowledgetobeintegratedwithyourplaying,allowing thoughtstobecomefeeling.Itremovestheinterferencethatcomesfromtryingto thinkmovementsintoplace.Iliketothinkthatallknowledgeshouldfloatfreelyinto place,finallysettlingasthoughitwereamantleofsnowflakes,solightastofitinto thenooksandcranniesofoneself.Slowpracticeisasettinginwhichthiscantake

place. Onefinalthoughtwhatkeepspeoplecomingbacktothejoysandtribulationsofpractice yearafteryearisthat"Aha!"moment,whereourunderstandingofourinstrument,ourbody, orthemusicsuddenlyspringsintofocusandwegetthatinnerfeedbackthatmovesus onwardtothenextchallenge.Slowpracticeisoneofthetoolsthatcangetyouthere.

Day10:SilentPracticing
Whoeversaidthatweneedtoactuallybeattheinstrumentwhenpracticing?Sincemuchof theworkofpracticingisentirelymental,wecanseparateourselvesfromtheinstrumentin ordertoreallythinkthroughapassageinorderthatwecanworkmuchmoreeffectively oncewerebackinthepracticeroom. Singerscanbeourrolemodelinthisregard.Sincethevoiceispartofonesownbody,it mustbetreatedwithcareandcantstanduptothehoursofworkthatpianistsandviolinists putin.Infact,manyprofessionalsingerscantpracticemorethan6090minutes(including warmup)withoutsufferingwearandtearonthevoice. Whatdoprofessionalsingersdo?Theyspendlonghourstranslatingtexts,practicingthe dictionofapassage,plunkingtheirnotesoutatthepiano,studyingthepianoororchestral score,andmakinginterpretivedecisionsawayfromthevoice,sothatwhentheydosing fullout,theirworkwillbemoreconscious,andtheywontbewastingtimebustingtheir voiceslearningtheirnotes.Instead,theyvealreadydonethenutsandboltsintheir preparatorytime,sothattheirsingingtime(whetherpracticing,coaching,orrehearsing)is takenupwiththefinerdetailsofinterpretation,ensemble,technicaldevelopment,and artistry.. Here'satechniqueIoftenrecommendtoinstrumentalistsforusewhenwhenstuckona passage: 1.Hearthepassagementally,thewayyouwouldideallyliketoplayit. 2.Playthepassage. 3.Repeattheprocess,alternatingmentalplaybackofyouridealsoundforthe passagewithyourplayingofit.Seehowthetwoinformeachother. Youcanevenmemorizemusicbystudyingthescoreawayfromtheinstrument(seeDays 1315)!

Day11:WorkBackwards
OnethingIcontinuallynoticewhenadjudicatingorexaminingisthatmanyperformances tendtostartoutwell,declinesomewhatinthemiddle,andbarelyavoiddisasterattheend. Thisisasuresignthatperformershaven'tbeenworkingonendingsandsecondhalvesof works,andtodayI'lllookathowwecanputthatintopractice. Mostofustendtostartourpracticesessionatthebeginningofawork.However,that approachmeansthatawellthoughoutbeginningcanmaskapoorlythoughtout conclusion,sinceourattentionnaturallystartstowanemidwaythroughapracticesession. Sowhoeversaidwealwayshadtostartatthebeginningwhenpracticing?Trystartingat theendfirst.Craftasatisfyingconclusiontothepiece,andthenstarttoworkbackwards, phrasebyphrase,sectionbysection.Youmayfindthatyoustarttonoticethingsthatwent bypreviouslyinthework'ssecondhalf.Keeponworkingandyoujustmightgettothe beginningofthework. Trythisapproachforafewweeksincombinationwithworkingfrombeginningtoend.You willstarttonoticeasenseofcommandandcomfortinthesecondhalfofthepiece,and you'llhaveenoughrepsoftheendingunderyourbeltthatyourperformancewon'tfailwhen itcomesdowntothecrunch. Itdoesntmatterwhereyoustartwhenworkingonapiece.Oneofthecapabilitiesofthe humanbrainisthatitcanputtogetherdisparatepartsofawholeandviewtheentirething asacompleteentity.Thatwaytheworkyoudolearningthepartswillcometogethermuch moreorganicallythanifyouonlyworkinalinearfashion.

Day12:TakeYourPerformanceforaTestDriveEvery Day
OneofthecommentsIoftengivemystudentsissomesortofvariationon"Makesureyou don'tlosesightoftheforestforthetrees".Inthedetailorientedworldoflearningtoplayan instrument,weareconstantlylearningtointegratethingssuchasrhythm,pitch,phrasing, coordination,physicalmovement,style,andpedaling,tonameonlyafew.Itisalltooeasy togetboggeddowninthedetailsandcompletelylosesightofthefinalproduct,and musiciansofallinstruments,ages,andlevelsaresusceptible. WhichiswhyIrecommendthatstudents,oncetheyhaveacertainproficiencyatplayinga certainwork,mightwanttoconsiderrunningtheentirepiecetwicepersession.Here'show itworks: 1.Runthepiece,makingmentalnoteofwheretheproblemsare. 2.Takethepieceapart,rememberingtospendsometimeonthepartsthatdidn't gowellintheinitialrun. 3.Runthepieceagain. Whatcanbefrustratingaboutthismethodisthatoftenthesecondrunwon'tshowany noticeableimprovementoverthefirst.Afterstormingaroundyourpracticestudioforafew moments,justtakenoteofwhatdidn'tgowellandworkonthosedetailsatthenextpractice sessionwhenyouusethesameapproach.Overthecourseofweeksandmonths,the piecewillshowimprovementandyouwillfeelmuchgreatercomfortinperformance(where youonlygetonechance),sincerunningthepiecewillhavebeenalreadyinternalized.

Day13:WhyMemorizationIsImportant
AfewyearsagoIwroteapostentitled30+1WaystoMemorizeMusicFlawlessly,which hasgoneontobecomeoneofthemostpopulararticlesontheCollaborativePianoBlog. Memorizationisnosmallfeat,andobviouslypeoplearefindingitchallenging,sinceIfind somanymemorizationorientedsearchtermsastheentrypointstomyblog. TodayI'llbelookingatwhymemorizationissoimportantinthelearningprocess.Iliketo emphasizethattheearlierthatperformersmemorize,thebetter.Thatleapoffaithfromthe printedpagetoplayingfrommemoryisasignificantoneandcarrieswithitthepromiseof musicalintegrationandinspiration.Herearesomereasonswhythisisso: 1.Makethemusicapartofyou.IheardafascinatingcommentbackintheNapsterdays ofthe1990'swhenLarsUlrichandMetallicaweretestifyingbeforeCongress.Adistraught Metallicafanwasinterviewedastowhyhewasprotestinghisfavoriteband.Hisresponse wasthat"It'sourmusictoo".Afascinatingstatement,andobviouslyfalsefromalegal perspective,sincealistenerhasnolegalrighttocallhisfavoritemusichisown.Butonan innerlevel,thispoorMetallicafanhadinternalizedtheirmusictotheextentthathe consideredithisown.That'swhatperformersneedtodo.Workonthemusictotheextent thatitgetsinyourbonesandseemstoflownaturallyfromyourself.Memorizationisoneof thetoolstotakeittothatlevel. 2.Icanonlylookatonethingatatime!Oneofthelimitationsofhumansightisthat (unlikehearing,withits360degreeawareness)youcanonlyvisuallyfocusononethingat atime.Knowingwheretolookcanbeadiceysituationwhenplayingthepiano,aswe sometimesneedtochoosebetweenstaringatthemusic,lookingatourrighthand,or lookingatourlefthand,andriskeithermissingnotesorlosingourplace.Memorizethe musicandthatproblemgoesaway.Professionalpercussionistsplayingseveral instrumentsatatimeoftenneedtomemorizemusicjusttobeabletoplaytheirpartsin orchestraandensemblemusic,withitsrapidchangesofinstrumentandbodyorientation. Oncethemusiciscommittedtomemory,wecanscanthekeyboard,fingerboard,or instrumentarray,andplanexactlywhatweneedtodophysically,freedfromthefettersof needingtostareatthescoreallthetime. 3.Tellyourownstory.Singershavetheroughesttimeofallmusicians.Theyneedto learnhowtocreatetheirowninstrumentinsidetheirbody,learnthemusic,learnlanguages tothelevelofanativespeaker,andlearntoact,tonameafew.Therecomesatimewhen

theyarepreparingmusicwhentheymusttakethatleapoffaithandgetthemusicoffthe pagesothattheycanbeconvincinginrecreatingarecitative,aria,ensemble,orartsong. Memorizationisthegoldenroadtogettingtothatplace.Instrumentalistsalsoneedto realizehowimportantthismetaphorisforthemintellingtheirownstorythroughtheir instrumentsandrepertoire. 4.Findyourlimitationsandtranscendthem.Let'sfaceitmemorizationisdifficult. Gettingaworkmemorizedcarrieswithitthedangeroffailureanddisappointment. However,allisnotlost.Everyonecomesatmemorizationadifferentwayandneedsto buildontheirstrengthswhileworkingontheirweaknesses.Toputitsimply,memorization isacombinationofsight,sound,feeling,andthinking,andtheprocessisalmostlike findingyourown4digitPINthatallowsyouaccesstocreatingmemorizedmusic.The rewardsofchallengingyourselfareworththeinvestmentoftime. 5.Stopplaying/singinglikeastudent.Whatisthemagicalmomentwhenamusician stopsbeingastudentandsuddenlybecomesanartist?Graduation?Thefirstgig?The hundredthgig?Allwrongtheprecisemomentthataperformerbecomesanartistisatthe momentoftheirownchoosing,whentheystopthinkingthattheirdevelopmentissubjectto thewhimofateacherandtheylearntotrusttheirowninstincts.Itisobviouslysomewhat moredifficulttodothiswhenyouarestillstaringatthepagelookingatnoteafternote.Get tothememorizationlevelanditisconsiderablyeasiertostopthinkinglikeastudentand startplayingmorelikeaperformingartist.

Day14:MemorizationasanEmotionalPlace
JoshuaFoer'sSecretsofaMindGamerintheNewYorkTimesofFebruary15,2011 looksatthesecretsofmemorychampionsandhowsomeonewithanonlyaverage memoryisabletoachievetranshumanmnemonicfeatsattheWorldMemory Championships.Foer'ssecretlayinthememorypalacetechnique: TheanswerliesinadiscoverysupposedlymadebythepoetSimonidesofCeosin thefifthcenturyB.C.Afteratragicbanquethallcollapse,ofwhichhewasthesole survivor,Simonideswasaskedtogiveanaccountofwhowasburiedinthedebris. Whenthepoetclosedhiseyesandreconstructedthecrumbledbuildinginhis imagination,hehadanextraordinaryrealization:herememberedwhereeachofthe guestsattheillfateddinnerhadbeensitting.Eventhoughhemadenoconscious efforttomemorizethelayoutoftheroom,itnonethelessleftadurableimpression. Fromthatsimpleobservation,Simonidesreportedlyinventedatechniquethatwould formthebasisofwhatcametobeknownastheartofmemory.Herealizedthatif therehadntbeenguestssittingatabanquettablebut,say,everygreatGreek dramatistseatedinorderofbirthoreachofthewordsofoneofhispoemsor everyitemheneededtoaccomplishthatdayhewouldhaverememberedthat instead.Hereasonedthatjustaboutanythingcouldbeimprinteduponour memories,andkeptingoodorder,simplybyconstructingabuildinginthe imaginationandfillingitwithimageryofwhatneededtoberecalled.Thisimagined edificecouldthenbewalkedthroughatanytimeinthefuture.Suchabuildingwould latercometobecalledamemorypalace. Sincereadingthearticle,I'vebeenfascinatedbyhowthistypeofmemoryprocessmight beappliedtomusic.Muchofthepedagogicalthinkingonmusicalmemorythesedays reliesonanindividualconfluenceofdifferentsensemodalities,ie.visual,aural, tactile/kinesthetic,andintellectual.Ionceheardoneteacherexplainthemethodoffinding one'scorrectpathwaytomusicalmemorizationbycomparingittosettingyourPINatthe bankfindyourownindividualcombinationofthesefourmodalitiesthatyouneedtobe abletoretrieveatwill.Iagreewiththismetaphoranduseitinmyownteaching. YetthewaymnemonicathleteslikeJoshuaFoerareabletoremembermassiveamounts ofinformationinashortperiodoftimereliesonmoreofathreedimensionalmodelof memorythanalinearone.Theexperienceofwalkingthroughanimaginaryedificewith encodedimagesiswhattriggersthememories.Canthisbeappliedtomusical

memorization?Shouldwethinkofamusicalworkasabuilding? Maybe. WhatIfindmissinginthetraditionalmodalitymethodofmusicalmemoryisanysortof emotionalcomponent.Perhapsthinkingthroughmoreactorrelatedconceptsofmemory canhelpusconstructamoreemotionallyengagedpathwaythroughawork:

Wheredoestheworkstartemotionally? Doesithaveaphysicalplace? Isthereaprotagonist? Whatdotheydothroughthework? Howdotheychangethroughthework? Whatisthework'semotionaljourney? Wheredoesitend? Whatareyourfavoriteparts? Whatistheemotionalhighpointofthework?

Thesequestionsmightbefamiliartothosewhohavetakenactingcoursesorhaveworked withatheaterdirector(takealookatRenaSharon'sbasicsonginterpretationquestions featuredinthepostSomeIdeasonHowtoLearnaSongorAriamanysingersand pianistsuselistssuchasthesewhenlearningvocalmusic).Ifwehaveanemotional pathwaythroughaworkofmusic,ourroutecanbeoneofthemodalitiesthatwememorize. Emotions,betheypleasantorpainful,tendtoresideinthebody.Iftheseemotionsare mappedoutthroughthelearningprocess,theycanberecalledjustlikeanyother senserelatedmodality,muchlikeretracingstepsthroughafamiliarbuilding.Furthermore, thistypeofmemorizationcanbevalidforanyinstrumentandatanylevel. Arethereanyparticulartechniquesyouusewhenmemorizingmusic?Howdoyouteach memorizationinyourstudio?

Day15:20WaystoHelpYouMemorizeMusic Flawlessly
Asperformancedatesapproach,oneofthethingsthatworriesmanymusiciansisthe processofcommittingtheworktheyhavealreadydonetomemory.Whilethetraditional waytomemorizemusicistopracticeapieceuntilyou'reblueinthefaceandthenhope andprayittranslatestomemory,thereareanumberofmusicalpreparationtechniques thatcanhelpyourmemorizedperformancesurviveandevenexcelasyoutakethestage. Theseideasaremostlyintendedforpianists(withasmallsectionforsingers),butcanbe usedbyplayersofallinstruments.

1.Learnthemusicproperlyfirst.Payattentiontoalltheelementsincludingnotes, rhythm,dynamics,fingerings,andphrasingandletthescorebeyourguidetothe interpretationofthepiece. 2.Runthepiecefrommemory,mistakesandall,keepingtrackofalltheslips.Then gobackandplaythemusicwiththescore,correctingthemistakes.Nowplaythepiece throughagainandrepeattheprocess. 3.Workonthememorizationtroublespots.Forgetrunningthepieceforthetime being,butworkonlyonthepassagesthatgiveyougrief.

VisualWork
4.Whenplayingfrommemory,trytorememberthewaythemusiclooksonthe page.Thisisthemostcommonmethodofmemorizingformanypianistsandonethatcan getyouintotroublewhenusedtotheexclusionofallelse. 5.Beawareofwhenyouneedtolookatyourhandswhenplayingthework.Isthis acrutchtocompensatefortension,incorrectlearning,orunsuregaugingofdistances? Whenplayingfrommemory,decideifyoucangetaroundtheneedtolookatyourhandsor ifitissomethingthatisnecessary.

AuditoryWork

6.Listentoeverysinglesoundyoumake.Ifyoumakeamistake,gooverthepassage againandlistenforwhatyoumissed.Thisisperhapsthesinglemostimportantadvice aboutmemorization.(Aside:DavidBurgeoncementionedtomeinalessonthatifone weretoreallylistentoeverysinglelastdetailofthepieceingreatdetail,onewouldnever makeasinglemistakefrommemory!Adifficultideal,butanobleone.) 7.Heartheworkawayfromtheinstrument.Canyouheartheworkthewayyouwantto playit?

KinestheticWork
8.Turnthelightsoutandplaythepieceinthedark.Canyougetthrough?Consider thesceneinStarsWarsEpisodeIVwhereObiWanmadeLukeSkywalkertrackthe probesinhislightsabertrainingwiththehelmetoverhisface,notbeingabletoseethem. WhydidObiWandothis?ToteachLuketotrusthisinstinctsandhisphysicalityratherthan visionalone.Usetheforce.Trustyourinstincts. 9.Playfrommemorywithonlyonehand.Thenswitch.

IntellectualWork
10.Analyzethepiece.Takeapartitsharmonic,melodic,andformalstructureandreally getasenseofhowtheworkisputtogether. 11.Memorizethedynamics.It'snotjustaboutplayingthenotes,butaboutthemusical colorsthatgoalongwiththem.Agoodstartinthisdirectionisdynamicdetail. 12.Memorizethearticulations.Anothergoodwaytocreatecolouristicdelineationis knowingwherestaccato,legato,andeverythinginbetweenarelocatedinthescoreand howtocreatethem.Again,pickuponvisual,auditory,andkinestheticcuestothink,hear, andfeelthecolorsthearticulationscancreate. 13.Memorizetheworkawayfromthepiano.Whoeversaidyouneededtoactually playwhendoingyourmusicalpreparation?Unlockyourcreativeideasbyvisualizingthe music,unfetteredbyyourneedtoplayitallthetime.

IdeasforSingers

Inadditiontomemorizingmusic,singersalsoneedtomemorizeasongoraria'stext,often inalanguageotherthanEnglish. 14.Memorizethetextawayfromthemusic.FortextsnotinEnglish,thisincludes knowingthetextintheoriginallanguageanditsEnglishtranslation. 15.Onablankpieceofpaper,writeoutthetextincludingallrepetitionsofphrases andwords.It'sdifficult,butifyoucandothisyou'llreallyhaveasolidgraspofyour material. 16.Onstaffpaper,writeoutthevocallinefrommemory.Eventrickier,butveryuseful. 17.Memorizetheinterludesinthepianoororchestra.Inadditiontomemorizingthe barsandbeatsbetweensingingentries,putinthoughtsthatgointherestssothattheywill beimbuedwithmeaningandmotivation,andgiveyoufurthersecurityinperformance.

PuttingitallTogether
18.Perfectthebeginningofthepiecesothatifyousufferfromnerves,youcan relyonrocksolidpreparationfortheopening.Workingonthebeginningofthepiece includesyourapproachtotheinstrumentonstage,yourpreparationfortheopening passage,aswellasworkingonwhatyouwillthinkorvisualizeinthelastfewseconds beforeyourperformanceisunderway. 19.Perfecttheendingofthepieceit'swhattheaudiencewillwalkawaywith.See Days11and20formoreinformationonthissubject. 20.Doenoughpreparationsothatyoucantrustyourabilitiesandtheworkyou haveputintothepiece,regardlessofwhatanyoneintheaudiencemightthink.As anartist,therecomesatimewhenyouhavetotaketheattitudethatotherpeoplecanbe damnediftheydontenjoywhatyouhavetosayasaperformer.Worryingaboutwhatother peoplethinkortryingtoliveuptotheirexpectationsisarecipeforeventualfailure.Asa notableJedimasteroncesaid:Doordonot.Thereisnotry. Andfinally... Makethepieceyourown.Playwiththeconvictionthatcomesfromadeepknowledgeof themusicandmeticulouspreparation.Onlythenwillyoubeabletosaythatyouaremaking

musicfromaplaceofdeepconfidenceandartisticintegrity.

Day16:ThingstoRememberAboutFingerings
Oneofthemostcommonreasonsthatpianistshaveproblemswithmusicalpassagesis badfingering.ToomanytimesIseepianistsyoungandoldglossingoverfingeringsinthe earlystagesoflearning,andthenwonderwhytheyhavetroublesgettingapassageupto speedafewweekslater. Todaysarticlewillnotbeatreatiseonwhatconstitutesgoodfingering,whichIconsidera highlypersonalart(science?).However,herearesomeideasonhowtofindtheright fingerstoplaytherightnotes: 1.Whenyoulearnthenotesandrhythms,learnthefingeringstoo.Playinga passagewithcorrectfingeringwilllessentheamountoftimespentlearningthepiece.The earlieryoustart,themoreefficientthelearningprocesswillbe. 2.Whentheprintedfingeringsdon'tcoverallthenotesyouneedinorderto properlylearnapassage,addtheminpencil.Thiswilltakeasmallamountof elementaryreasoningandacoupleoftoughdecisions,butwillpaydividendsinthelong run.Ofcourse,itissomewhatredundanttohaveafingernumberovereverysinglenote, buttrytohavethecriticalmusicalcornersfingeredasmuchasyouneed. 3.Oncethepassageislearnedwiththerightfingerings,repeatwiththeexact samefingeringsduringpractice.Repetitionwiththerighthandshapesandfinger crossingscanmaketheprocessofworkingupapiecearelativelyquickone.Onthe contrary,usesloppyfingeringsandyou'llhaveworktoundolateron(see#5). 4.Ifyouneedtochangeafingering,realizethatyouaregivingupsomethingin ordertogetsomethingelse.Takerepeatedsinglenotes,forexample.Mosteditions printchangingfingerings.However,notallpianistsagree.Decidingifyouareafinger repeaterorfingerchangercanbeamatteroftastejustrealizewhateachfingeringtype accomplishesandlistenforthesoundyouwant. 5.Thelongeryouwaittochangefingerings,thelongerittakestoundo.Correcting mistakesthatgobacktotheinitiallearningprocesstakeanawfulamountoftime,practice timethatcouldbespentinotherproductiveways.Theremaybemomentswhenyourealize thattheoriginalfingeringsyouusednolongermakemusicalsense.Ifyouneedtomake thisdecision,remember#4givingupsomethingtogetsomethingelseisfine,aslongas

itisforanultimatelymusicalreason. Sotakeoutthosesharpenedpencilsandgettoworkfingeringyourwaytopianistic, violinistic,orcellisticexcellencewithoutthehassleofrelearning.

Day17:InterludesSomeThoughtsonTeachingand Learning
Ateacherisnotamiracleworker.Well,sometimestheycanbe,butforthemostpartthe greaterresponsibilityfordevelopmentlieswiththestudentandtheirresponsibilitytoreturn totheirinstrumentdayafterday,togiveintothefunoftheprocessinordertohaveagood enoughmusicalproductthattheteachercanindeedworktheirmagicon.Theimportant thingfortheteachertodoismakethepracticingasfunasitcanbe. OneofthethingsIfeelmoststronglyaboutasateacheristheimportanceofteaching studentstothinkforthemselves,tocultivateindependenceinthem.Withmanyofmy professionalornearprofessionalstudents,theyoftenneedthatreassurancethattheydo indeedhavethetoolboxtouncoverandfixtheirownmistakesanddiscernwhichistheright waytogointheirpracticinganddevelopment.Inshort,theyneedtogivethemselvesthe validationthattheyareindeedartists.Thegoalofindependentmusicalthoughtisan importantone,andtheearlierstudentsareencouragedinthisdirection,themoretheywill performnotasateacher'sautomatons,butasyoungindividuals,eachwithsomething genuinetoshare. Everystudentseemstoneedaslightlydifferentpersonalityfrommeintheirlessons.Some needaguide,othersacheerleader.Oneneedsasoftspokenteacher,anothera loudmouth.Olderstudentsoftenneedtoconnectwithateacherbeforetheylearn.Other studentsrequireanemotionaldistancefromtheirteacher.Someneedachampionothers anopponent.Theimportantthingistostrivetoreallyknoweachstudentsothattheycan respondtotheappropriatepersonayouprojectinthestudio. Achievementcantakemanyforms.Itisntjustaboutwinningprizesandbeatingthe competition.Itsabouthittingthemilestonesonyourownjourneyaccordingtoyourown abilitiesandchallenges.AnautisticstudentIteachrecentlyhadamajorbreakthroughhe discoveredhowtoplayfromthetipofhisfingerwithoutassistance.A70yearoldstudent

ofminescoredan86onapianoexamonwhichsheexpectedtoscorepoorly.Other studentsdroppianoonlytogoontogreatsuccessinotherfields.Asamusiceducator,Ive alwaysfeltthatitisourjobtoteachstudentsbothdiscoveryandachievement,inwhatever guiseitmayappear. Thereisconstantgrowthanddevelopmentinmystudioanditrequiresmetofindnewand interestingwaystopropelmystudentsforward.Itisfascinatingtoseetheirmusical, intellectual,andpersonalgrowthoverthecourseofmonthsandyears. ThemostimportantthingIvelearnedsinceIstartedteachingin1993isthateverysingle studentisunique,withtheirownstrengths,weaknesses,contributions,andpromise. Therefore,Ineedtoadjustmyattitudes,priorities,andmethodsveryslightly(orsometimes radically)foreverystudent.

Day18:PracticinginDetailAQuickMethodto GettingStarted
Ifyou'readevelopingpianist,it'simportanttolearnhowtopractice.WhenImean practicing,Imeannotjustrunningthroughpiecesafewtimes,butreallylookinginto musicaldetails,discoveringproblems,correctingthem,andrepeatingthesolutionsover andoverenroutetoaviableperformance.AsIexplaintheartofdailypracticingtomy students,I'malwaysonthelookoutforaneasytounderstandprocessthatcanbetailored toanystudentatanylevel.Here'saquickmethodforgettingyourmusicalpreparationto runmoreefficiently: 1.Pickafewbars.Fourtoeightbarsisagoodnumberatfirst. 2.Practicetherighthand. 3.Practicethelefthand.Thelefthandisusuallyoverlookedinlisteningandpracticing, andmostofushavelefthandsthatareweakerandlesscoordinatedthantheright.To compensate,youmightwanttospendmoretimeontheleftthantheright,especiallywhen workingontechnique. 4.Practicehandstogether. 5.Areyousatisfiedwithhowyouplaythepassage?Ifnot,gobacktostep2.Ifyes, thenpickthenextpassageandrepeatfromstep2. 6.Onceyouhaveafewpassageslearnedinthisway,youcanworkonputtingtwo ormoreofthesesegmentstogether.Ifthingsfallapart,thenonceagainpicksmaller units(especiallytransitionsatthisstage)andrepeattheprocess.Continueworkinginthis manneruntileventuallyyoucanplaytheentirepiecefluently. Theabovemethodlookssimple,butapplyingitcantakeanywherefrom15minutesto severalhoursdependingonthelengthofpieceyou'reworkingonandhowmuchdetailyou wanttogointo. Asastartingpointtotheabsorbingactivitythatpracticingcanbecome,I'memphasizingan initiallysimplestepbystepprocess.Usethismethodoverthecourseofanentireworkand

theitsapplicationswillgetmorecomplex.However,workinginthiswaywillhelpyourealize thingsthatyouhadntnoticedinthemusicandyourplaying.Myreasoningbehindthis approachistogetstudentsawayfrommerelyplayingthroughtheirpieces(evenadvanced studentscanfallpreytothishabit)anddiscoveringawaytoworkonthesmallerstuffwitha viewtowardsachievingmuchlargergoalsofperformance,discovery,andmusical evolution.

Day19:BuildSightReadingIntoYourPractice Session
Icontinuallygetthesensethatpeoplerealizetheimportanceofsightreading,butare havingtroublefindinginterestingwaysofdoingitonaregularbasis.TodayImgoingtotalk aboutwhysightreadingisimportantandhowyoucanincorporateitintoyourdailypractice regimen. Whatsightreadingcandoforyou Drasticallycutdownonthetimespentlearningnotesinanewwork. Developyourpitchreadingskillsinamoderatepressurecookersituation. Developyourrhythmicskillsinthesameway. Developyourlisteningskills. Allowyoutointegraterhythmandpitchreading,stylisticthought,andphysicalityina waynotalwaysutilizedintraditionalnotelearning. Allowyoutoplayandenjoylargeamountsofmusicyoumightnototherwisefind.

Howtodevelopyourskills Youwon'tdevelopintoagreatsightreaderbyonlydoingitatlessonsandexams.Regular practiceforonlyafewminutesadayisthebestwaytoprogressinarelativelypainfree environment. ThepublicationIrecommendaboveallothersistheFourStarSightReadingandEar TestsseriesbyBorisBerlinandAndrewMarkow.Dividedintolevelscorrespondingto RCMgradelevels,thebooksaredividedintoweeklyunits(around10perbook)withone dailysightreadingandrhythmicexample,aswellasdailyeartrainingexamplesforeach week.Theamountofworkinvolvedperdayisactuallyquiteminimal,sinceitisthe cumulativeeffectofthereadingpracticethatimprovesskills.Workingdailythrough10units pervolume,itshouldtakeapproximately10weekstogetthroughabook.Theshortlength oftimeittakestocompleteabookalsoensuresthatastudentnotuptoparonhisorher readingskillscaneasilydotwooreventhreelevelsayearbeforetakinganexam.Thetrick isnottocramthesebooksbuttoworkat(savor!)themaspartofadailypracticeroutine. Herearesomemoreideas,techniques,andprojectsthatcanhelpyouwithsightreading:

1.Practiceinthedark.Pianoplayingisn'tjustanintellectualexercisebutaphysical activityaswell.Youcanteachthebodytotrustitsinstincts,sothatwhensightreadingthe eyescanstayfocusedonthemusicwhiletherestofthebodydoesitsthingwith confidenceandgrace. 2.Readthroughapileofmusicthatreallyinterestsyou.Ifyoulikeoneortwopieces inacertaingenreorbyacertaincomposer,getabookofworksandreadthroughthe entirething.Thereisnobetterwaytoindulgeyourfascinationwithyourfavoritecornersof therepertoireandlearnreadingskillsconcurrently. 3.Readthroughsongsandariaswithasinger,sonataswithaninstrumentalist,or duetswithanotherpianist.Sightreadingisn'tjustforcedlabor.Theprocessofreading throughrepertoirewithasinger/instrumentalistcanbeextremelysatisfying,deepenthe levelofpartnership,helptobuildskills,andbefun. 4.Workasapianistinthestudioofavoiceteacher.Avoiceteachercanputyouto worklearningawidevarietyofmusicfromtheartsong,opera,oratorio,andmusictheatre genreswithoutalotofleadtimetolearnmusicproperly.Themoreyoudo,thebroaderyour knowledgeandskillswillbe,andthebetteryouwillget. 5.ReadaboutChunkingTheory[wiki]andtrytofigureouthowyoucangroup musicalelementsintoperceptualgroups.Readingmusic,likereadingtext,isa processoffindingperceptualgroups.Whenyoureadfromabook,youperceivenotjust lettersbutwords,phrases,andclauses.Musicisnodifferent. 6.Improviseinthestyleofaparticularcomposerorgenre.It'snotjustaboutnotes andrhythms,butthetotalityofmusicalelements,includingstyle.Themoreyouareableto recreatethestyleofaparticulartimeandplaceinmusicalhistory,themoreyoursight readingwillsoundliketherealthing. 7.Playatthesamelevelsightreadingasyouwouldinawellpreparedrecital. Okay,thisisimpossible,buthavingitasagoalwillpropelyoutothenextlevel.

Day20:MakingEndingsWork
Acommonareaforimprovementinperformancesaretheendingsofworks.ToooftenI seeagreatdealofeffortexpendedonworkingupthebeginningandmiddleofapiece, withtheendingviewedasanafterthought.However,endingsaresomeofthemost memorablepartsofaperformance,sincetheyhighlyinfluencethequalityoftheapplause (politevs.boisterous)andtheaudience'smemoryoftheperformance. Toputitbluntly,youreallyneedtoworkonendingsofworksinordertobecomean effectiveperformer.Herearesomethingstoconsider: Doestheendingextendtheoverallmoodofthepieceordoesitmakeasuddenbreak withit? Arethereanyparticularlydifficulttechnicaldemandsontheperformerattheendofthe work?Oftencomposerswillputtheirnastiesttechnicalwritingjustbeforetheendingso theworkcanendwithabang. Isthereaparticularchoreographytotheendingthatwillmakeitmoreeffective?Could youbenefitfromfluorishesandshowmanshiporeconomyofmovementandstillness? Singers:Isthereapostludefollowingthelastvocalline?Howdoesitrelatetotheendof thework?Ifthereisapostludefollowingtheendofyoursinging,don'tforgettoremain faciallyengaged,astheaudienceisstilllookingatyou.Thereforeyoumuststilllook connectedtothesongwhilethepianoororchestraplaysthepostlude.

Theendingofaworkshouldn'talwaysbethelastpartofthepieceyoulearn.Puttingthe endingfurtheraheadintheorderofbattleformusiclearningwillensurethatitisapriority andnotanafterthought.

Day21:OrganizeYourPracticeTimeLikeaStage Director
Inthelastfewyears,I'veplayedforquiteanumberofoperaticproductions.Ineachofthem, oneofthefirstthingsInoticeisthedeadlineofopeningnightthatloomsovertheentire rehearsalprocess(andoftenhashundredsofthousandsofdollarsridinguponits success).Everythingthathappensisgearedtowardspreparingfortheopening.SowhenI arriveonthefirstdayofrehearsal,Inearlyalwaysreceiveadetailedproductionscheduleof theentireshowfromthefirstmusicalrehearsaltoclosingnight. Afterseveralyearsofworkingwiththistypeofscheduleinthetheatre,Ivegrowntoadmire thewaythatstagedirectorswork.Bothprojectmanagersandinspirationalcoaches, directorsneedtoenvision,plan,andexecutetheentirerehearsalprocess.Inrehearsal, theyneedtodemonstrateagreatamountofpersonalenergyanddynamismatalltimes. Watchingtheseamazingprofessionals,Ibegantothinkwhatifoneweretoschedule practicetimeinthisway? Hereisastepbystep,topdownprocessofhowyoucouldscheduleyourpracticetimejust likeastagedirectormight.Intherealworld,performershavealargenumberofrotating worksandperformancestoprepareforbutforthislistwewillincludeonlyoneprogramfor performance(oh,theluxury). 1.Determinealltheperformancedatesfortheprogram.Thesearethe writteninstonedeadlinesthatwilldetermineeverythingthathappensbefore.Thesecan includeexams,festivals,auditions,recordings,andrecitals. 2.Oneweekbeforethefirstperformanceoftheprogramwillbedesignated"tech week",inwhichthefinishingtoucheswillbeapplied,remainingproblemsfixed, andyouplaythedressrehearsal.Thisisyourlastchancetotakethingsapartandwork throughproblemsintherunuptotheperformance.Inthisprocess,youregoingtoplanfor techweek,inwhichyourealreadygoingtohavetheworkcompletelyperformablebefore thefinaltechnicalreviewandrunthroughs.Inmanytheatreproductions,thereisalsoa previewprocessyoucandothisbyperformingtheprogramforacasualaudienceatleast oncetotestouttheprogrambeforetherealthing.WhenIwasatEastman,JeanBarr insistedonnotone,butthreedressrehearsalsbeforeeachdoctoralstudent'slecture recital.Sureenough,herstudentsexcelled.

3.Determinehowlongatimeperiodyouwillneedinordertolearnandrehearse theentireprogram.Inprofessionalproductions,rehearsalsusuallystart24weeksbefore techweek,dependingonthelevelofcompanyandtheiroperatingbudget.Foryour program,youshouldbethinkingofstartingtolearnthemusic412monthsaheadofthe firstperformanceinordertoadequatelyprepare. 4.Writeupascheduleforthestepsintheprocess.Onceyouhavetheperformance timesandfinalrehearsalsinplace,determinewhereallthestepsneedtobeonyour timeline,ie.memorize1monthbeforeconcert,allpieceslearned3monthsbefore,music chosen6monthsbefore. 5.Immerseyourselfintheprocess.Onceyouhaveallthestepsplannedout,youcan allowyourselftimetogoaboutthebusinessoflearning,discoveryandexplorationthatare essentialtomovingforwardartisticallyinadditiontoclimbingthestepsoftherecital mountain. Inotherwords,thequalityoftheprocessisasimportantasthefinalproducthavingthe stepsmappedoutcanensureyourenjoymentofbothgettingtothefinaldestinationand enjoyingtheridethere. Onceyou'reanadvancedstudentorprofessional,you'llneedtobeabletomapoutthis typeofprocessdozensoftimesinaseason,withamultitudeofoverlappingconcertdates bothforyourselfandyourstudents.

Day22:NonStructuredPracticeTime
Everyoneseemstothinkthatpracticingisallaboutwork,work,work.Wegetnewpieces andslaveawayatthem,playthemforourteacher,whoproceedstotearapartour performanceandgivesusarecipeforfurtherimprovementandwegohomeandthen work,work,workuntilthenextlesson. Sowheredidallthediscovery,exploration,andfungo? Teachersandparentswalkafinelinewhenaskingstudentstopracticedaily.Ofcourseyou can'tlearntoplayaninstrumentwithoutregularandcommittedpractice,butfindingan equalmixofworkandfuninthepracticeroomcanbeanoblegoaltoworktoward. Forthisreason,Irecommendformusiciansofallagesatleastsomeunstructuredtimeat theirinstrumenteveryweek.Byunstructured,Imeanworkingwithoutacleargoal,tryingout newpieces,figuringoutyourfavoritesongbyear,playingoldpiecesjustforthefunofit, andimprovising. Youngerstudentsarethebestatutilizingthistypeofactivitywithoutinhibitions.Mildred PortneyChasewritesinImprovisation:MusicFromTheInsideOut: Thetwoyearoldchildwhogoestothepianoforthefirsttimewillbeginimprovising becausethatistheonlythinghecando.Hehasnotyetbeentaught,thereforehe hasnopreconceivedstandardsorexpectationstoinhibithisexplorations.The twoyearoldchildatthepianoactsmostintuitively,hismindnotdistractedfromits naturalways.Theolderpersonismoreinvolvedinmentalprocessessinceeven withouttrainingthroughformallessonshewillhaveacquiredmanyimpressionsand developedmanyskills.Outofthese,webuildourownuniquevocabularies. Andthisishowcomposersareborn! Havingtimetofoolaroundatthepianoorotherinstrumentcangiveusasenseofcomfort andeasewhenweplay.Thefactthatwe"play"aninstrumentandnot"work"itisno coincidence.Theactofplayinganinstrumentisverycloseindeedtoachild'ssenseof play.Havingnoagendaforatleastpartofyourtimespentpracticingcanopenupaworld ofpossibilitiesandreenergizetheworkingpartsofthepracticesession. Herearefourthingsthatteachersandparentscandotohelpstudentsutilizenonstructured

practicetime: 1.Weanstudentsawayfromconstantparentalinvolvement.Thecreativeimpulse oftenrequiressilenceandsolitude.Fromtimetotime,leavingayoungstudenttotheirown devicesattheirinstrumentisanexcellentidea.Whattheyloseintheachievementofdaily practicetaskstheymaygaininunderstanding,exploration,andfun.Iftheyenjoythistime spentprivatelyattheirinstrument,itmightjustpaybigdividendsdowntheroadwhenthey eventuallyplayatanadvancedlevel,enjoyingtherichrewardsofbothtrustingthe responsesofonesownbodyandthepracticeprocess. 2.Encouragestudentstoplayratherthanworkattheinstrument.Itsnoaccident thattheEnglishwordforoperatingamusicalinstrumentjusthappenstobeplay.The notionofpracticeasplayisalltoooftenforgotten,andrediscoveringitwillhelptoanimate onescreativeself. 3.Enablestudentstolearnnewrepertoireandnewstyles.Severalofmystudents haveaninterestinplayingragtime,jazz,andgospelmusic,andsincetheyhavethetime overthesummertopursuethesestyles,Immorethanwillingtooblige.Ofcourse,theresa lotofselfinterestonmypartinencouragingthisexploration.Mystudentsdiscovery becomesaprimeopportunityformetouncoveralotofnewandinterestingmusicthatwill bebeneficialtomyentirestudiooverthelongrun. 4.Encouragestudentstoimprovise.Inspiteoftherichcompositionallegacyofthe European,jazz,andpopulartraditions,veryfewteacherseverencourageorteachtheir studentshowtoimproviseattheirinstrument.Ofcourse,anysixyearoldcanmakeup songswithoutanyencouragement,andfreetimespentattheirinstrumentwillincreasethe chancesofcreatingtheirownmusicalworks.

Day23:RecordYourself
Ourearsoftenlietous.Problemsgoundetected,weletourselvesgetawaywithsloppy work,andwedon'tfullyhearoursoundwhilemakingit. Weneedasecondsetofears,andrecordingourselvespracticingcandothetrick. Recordingtechnologyisubiquitousthesedays,soallyouneedtogetstartedisacell phonewithvoicerecordingsoftware. Hereisonewayyoucanincorporaterecordingintoyourpracticesession: 1.Recordyourselfplayingeitherasectionofawork,theentirework,ortheentire practicesession. 2.Listentowhatyourecorded. 3.Playthroughthesamemusicalpassage,incorporatingwhatyoulearnedfrom therecording. 4.Gobacktostep1andhearifyouveimproved. Listeningtoaplaybackofapracticesessioncanbequitedishearteningattimes.Theway wesoundwhenwe'replayingoftendiffersfromwhatshowsuponarecording,withthe benefitofalittledistancefromthesource.Wealsotendtohaveacertainobjectivity listeningtoothersplaythatwedon'talwayshaveinourownplaying.Listeningtoourselves onrecordingforcesustolistenwiththatsameaudiospecific,objectivesetofears.Itcan openthedoortonewinsightandhelplaythefoundationforournextstepinthepractice room.

Day24:AddToYourSkillsbyLearningTheory
Anothersurefirewaytoimproveeverythingyoudoatwhateverinstrumentyouplayisby learningmusictheory.Knowingaboutthebuildingblocksofmusiccangreatlyimproveyour comprehensionskills,lessentheamountoftimespentlearningapiece,andimproveyour musicianship.Someofthesebasicmaterialsincludeknowledgeofaccidentals,different scaletypes,intervals,rhythm,chords,cadences,transposition,analysis,andmusical terms.Atmoreadvancedlevels,conceptscoveredwillincludeharmony,counterpoint,and analysis. Ifyou'redoingRoyalConservatorypracticalexams,eachgradelevelcomeswithspecific prerequisitesorcorequisites,andfortheadvancedlevels,severaltheoryandhistory examsareneededtoreceivethefullcertificate. Ifyou'reinauniversityprogram,youwillinvariablyberequiredtotaketheorycoursesas partofthecurriculum.Ifyou'restudyingprivately,thereareseveralchoicesavailable: 1.Selfstudy.Recommendedforadultindependentlearners,althoughitcanbea challengeattimes.. 2.Studywithyourmaininstrumental/voiceteacher.Possible,althoughitcantakea chunkoutofyourlessontimebetterspentlearningyourinstrument. 3.Studywithadedicatedtheoryteacher.Teacherswhospecializeinteachingtheory, whetherintheprivateorclassformat,generallyhaveamuchgreaterknowledgeofhowto teachtheseconceptsandknowwhattheproperstandardsareatalllevels. Icannotemphasizeenoughthatstudentsofallageswillberewardedmanytimesoverby takingthetimetointegratemusictheoryinstructionintotheirmusicaleducation.Whatyou learnfrommusictheorywillgostraightintowhatyoudoattheinstrumentandwilldrastically shortentheamountoftimeneededtolearnmusic.

Day25:5WaystoAddLengthToYourPractice Session
Soonerorlaterinnearlyeveryone'smusicaleducation,theirteacherwillsitthemdownand givethemTheTalk.Thisusuallyhappensatamomentwhenthecurrentamountof practicetimeisnotsufficienttoprogressfurther. Soyougohomeand,havingsupersizedyourpracticetimefromhalfanhourtoanhour(or fromonehourtothree)perday,andtrytofigureoutwhattopracticeinordertoaddthe extratime. Here'swhattodo: 1.Warmupproperly.Consultwithyourteacherastohowyoushouldwarmupeveryday. Aproperwarmupcantaketime,andwithalongerpracticesession,youcanhavethetime toputitintopractice. 2.Workinmoredetail.Withtheaddedluxuryoftimeonyourside,nowyoucantakeapart eachphraseanddiscoverwhatyouneedtodoinordertomakeitfitintothewhole.Once you'vefinishedworkingononephrasetoyoursatisfaction,goontothenextone. 3.Repetition.Onceyou'vegotapassageworkedout,repeatitseveraltimestosolidifyit inyourplaying.Havinglongerpracticesessionscanaccomplishthisverynicely.Bearin mindthatthisdoesn'tmeanrunningwholepiecesseveraltimesandcallingitapractice sessionunlessthedetailworkisalreadyinplace. 4.Comebacktoeachpieceyou'reworkingoneveryday.Daybydayrepetitionis whatcanaddtremendousreliabilitytoyourperformance.Thatpassagethatalmostworked inthefirstsessionoftheweekcanusuallybeplayedwitheaseifattendedtodaily.There's somethingaboutworkinghardonapassage,settingitaside,andthenreturningtoitthe nextdaythatbuildsconfidenceandcommandtowhatseemedinitiallyunplayable. 5.Addmorediverseactivitiestoyourdailypracticesession.Changinggearsseveral timescanlessenanychanceofboredomwhenyoupractice.Activitiessuchastechnical exercises,sightreading,transposition,reviewingoldpieces,playinginadifferentmusical style,andimprovisingcanmakeyourtimespentatthepianomorerewarding.

Engageinthesetypesofpracticetechniquesandyou'llfindthattimewillflyby.Remember totakebreaks,asitwillbothrefreshyourmindandhelptopreventrepetitivestressinjury. Manypeoplehavetroubleconcentratingforextremelylongperiodsoftimeandthat'sokay. Agoodruleofthumbisthatforeveryhourofplayingyoushouldtakeatleasta10minute breaktorestbotharmsandmind.Somepeople(suchasmyself)needbreakseveryhalf hour.Takeashortbreakandyoullfindyourselfcomingbacktothepracticeroom energizedandreadytoworkagain.

Day26:15WaystoAdd10MinutePracticeBlocksTo YourRoutine
ALifeDevarticleaboutgettingworkdonein10minuteincrementsgotmethinkingcan wepianistsutilizeaquick10minutepracticesessiontogetthingsdoneaswell?Fromthe article: Oh,but10minutesnowthatsatastynumber.Notonlywilltengetyoustarted, youllprobablybefinishedtoo,ifyoufocus.Andfocusispracticallyrequiredwith10 minutes.Itsasmall,focusedamountoftime. Andifyouvegotfiveblocksof10minuteslyingaroundinyourday,thats50 minutesofhighlyfocusedtime.Comparethattoalargerchunkof50minutes.Thats right,moretimeforprocrastination.Small,focused,manageableburstsof productivityaremuchmoreeffectivethanthoseflabbyblocksoftime. HerearesomeideasIbrainstormedonhowyoucanintegrate10minutewindowsintoyour practiceandrehearsalday. 1.Warmupwithtechnicalexercises.Hanon,Dohnanyi,scales,arpeggios,chords,etc. 2.Warmupbyjumpingrighttothatpassagethatismakingyourlifemiserable. Whybeataroundthebush?Startwiththetrickiestpassage.Youcanalwaysreviewlater. 3.Warmupbyplayingsomepieceorpassagewiththemostbeautifulsoundyou cansummon.IalsomentionedthisinDay3. 4.Sightread.Separatingyoursightreadingtimefromtherestofyourpracticesessionwill helpyouworkwithevenmorefocusonyourpieces. 5.Reviewmemorizationforapieceorpassage.Ivefoundthatreviewingmemoryin shortburstsisagreatwaytoreviewwhatIworkoninlongerpracticesessions.Themore timesyoureviewmemorizationthroughouttheday,evenforshortperiods,thebetter retentionyoullhaveinperformance.

6.Reviewbyultraslowpracticingadifficultpassage.Hearingdifficultpassages throughtheextremelyfocusedlensofslowpracticingmightjustbewhatyouneedtofinally figureoutwhatyouneedtodoinlongersessions. 7.Playadifficultpassageinasmanydifferentwaysinterpretivelyasyoucan imagine.Thenextfewsuggestionsdealwithwaystobreakapartdifficultsectionsofa pieceinwaysthatwillhelpyoudiscoverwhatsnotworkingandhowtofixit.Tryingradically differentinterpretationswillopenyourmindtowhatworksandwhatdoesnt,aswellashow yourinterpretationofapassagecaninfluencehowyoudealwithittechnically. 8.Playadifficultpassagewiththelefthandonly.Pianistslefthandsaregenerally weakerandsloppierthanrighthands,soitisalwaysworthwhiletosetasidededicatedleft handpracticetime. 9.Playadifficultpassagewiththerighthandonly. 10.Playadifficultpassageinonehandwiththeotherhandshadowingitsparton yourknee.ThisisatechniquesaidtobeusedbyEvgenyKissin.Ittakesagreatdealof effortbuthelpstofigureouttherelationshipbetweencoordination,rhythm,andpitches. 11.Visualizeashortpassage,thenplay.Repeat.ThisisaMildredPortneyChase exercise.Ifyoucanhearthepassagethewayyouwantit,youcanplaythepassagethe wayyouwantit. 12.Visualizealongerpassagewithoutdoinganyplaying.Itsamentalgame... 13.Playsomethinginacompletelydifferentstylefromtherestofyourrepertoire. Knowntorestoresanityatdifficulttimesoftheyear. 14.Playthroughrepertoirerelatedtowhatyou'replaying.Forexample,ifyou're playingBeethoven'sWaldsteinSonata,playthroughtheAndanteFavori(theoriginal secondmovement).IfyoureplayingBeethovensOp.31#3Sonata,playthrough#1and2 aswell. 15.Doacooldown.Everyoneemphasizestheimportanceofwarmingup,butcooling downisimportanttoo.Bothourmindandmusclescanbenefitfromabitofslowtechnique, easysightreading,orafavoritepassage.

Afewcaveats WhileIdon'trecommendpracticingforonly10minutesadayorforthatmatterinchunksof only10minutes,thesetypesofpowerpracticeblockscanbeveryusefulwhenusedin conjunctionwithlargerunits,ie.10minutes+1hour+45minutes+10minutes. Anddonotunderanycircumstancesusetheabsoluteworstpracticesystemever,inwhich practiceisonlyaccomplishedduringthecommercialsofahockeygame!

Day27:RuntheProgram
Oneofthemostimportantthingstodowhenpreparingforarecital,RoyalConservatory exam,competition,festival,orauditionistorunyourprogrambeforeperformingit.Mostof usspendourpracticetimeworkingonsectionsofaworkandpracticingthedifficultbits overandoveragain.Butaswegetclosertotheperformance,itisnecessarytoputthings backtogetherandgetasenseofwhatitisliketoperformeverythingontheprogram,in order,andascloseaswecangettofullbattleconditions. Worksthatseemedeasyinthepracticeroomoftenaremoredifficultwhenplacedinthe program,especiallywhentheyareneartheendwherefatiguesetsin.Hereisapossible roadmapforrunningworksandprogramsintheleaduptoafullrecital: 1.Runeachpieceregularly.I'vealreadywrittenabouthowtotakeyourperformancefor atestdrive(seeDay12)onindividualworkswithintherecital.Doingthiswillgiveyoua goodheadstartforrecitalpreparation. 2.Aroundtwomonthstosixweeksbeforetherecital,beabletoperform multimovementworks(orsonggroupsforsingers).Practicingtransitionsbetween songsandmovementsisalsoanimportantelementofpreparation.Doyoutakealong time?Ashorttime?Attacca?Canyoualreadyvisualizetheemotionaljourneyofthework throughseveralmovementsorsongs? 3.Onemonthbeforetherecital,bepreparedtodoadryrunoftheentireprogram. Beingabletorunaprogramafullmonthbeforetherealthingwillalertyoutofurther developmentthatisneededinordertointegrateeachworkintothewhole.Skipthisstep andyoumightfindyourselfatthedressrehearsalafewnightsbeforetheshowunableto getthroughtheprogrambecauseyoudidn'tworkondevelopingenoughstamina.Once you'veruntheprogramthisfarinadvance,youcanthenworkonfinetuningforafullmonth andfeeltheconfidencethatcomeswithdetailedmusicalpreparationdonewellaheadof schedule. Oncerecitalnightcomesaround,thereisnosubstituteforwalkingonstagefeelingfully preparedandincommandoftheprogram.

Day28:DevelopingAnArtisticSensibility
Whetherwewishtobecomeaperformingartist,awellroundedmusician,orevenjusta dabblerinallthingsmusical,ouractivitiesdon'tstopatpracticingourinstrument,showing upforweeklylessons,andplayingintheoddrecitalorcompetition.Musicisbutonepartin thelargerworldofartsandculture,andifwewanttoreapthebenefitsofparticipationinthe artisticprocess,itisnotmerelyhealthy,butnecessarytoexperiencewhattherestofthe artshavetooffer.Forthoseseekingacareerinmusic,theintersectionofdifferentformsof artiswhatcannourishus,andoftenquestionswehaveaboutonedisciplinecanbe answeredbywhatwefindinanother. Herearesomeactivitiesthatcangiveyouasolidgroundinginthearts:

Goingtoconcertsandoperas Listeningtorecordings WatchinggreatperformancesonYouTube Goingtoartgalleriesandothervenuesfeaturingthevisualarts Goingtothetheatre Seeingballetandmoderndance Experiencingworksfeaturingnewmedia Seeingimportantworksofarchitecture,botholdandnew Interactingwithothermusicians Interactingwithartistsinrelatedfields Readinggreatnovels Developingatasteforpoetry

Withthemassiveadvancesintechnologyoverthepastfewdecades,therearemanymore waystoobserveandparticipateinthecreativeprocessthantherehavebeeninthepast. Whynotbroadenyourhorizons?Followyourmuseandyoucanstarttofeeltheconnection betweenyourworkinthepracticeroomandthelargerworldofartsandculture.

Day29:AddCollaborationToYourActivities
Learninganinstrumentcanbesuchalonelybusiness.Youpracticeyourinstrumentall week,alone.Youmeetyourteacherandthefocusisonyoualonetoimprove.Thenyougo backtothepracticeroomandworksomemore,alone.Andfinallyyougoonstageto perform,alone. Whyisitthatcollaborationisavaluedenterprisenearlyeverywherebutinpianoplaying? Collaborativepianists(alsostillcalledaccompanistsinsomeplaces)areoftenperceived asfailedpianists,andmanypeopleassumethatonlythepianisticcreamofthecropgetto performaloneonstage,withoutthetarnishofanyothermusicianspoilingtheirperfection, excepttheoccasionalorchestrabackingthemup.Butguesswhat?Therealityofthisfalse imageofthepianosoloistdoesn'tmeasureuptohowthingsreallyworkinthemusicworld. Nowadays,itisthecollaborativepianistthathasthefasttracktoaplayingcareer,with moreperformances,moredoorsthatcanopen,andmoreopportunitiesforearning income. Pianistsintheirteensoftenfallbythewaysideatthesametimethattheirfriendswhoplay otherinstrumentsfindcamaraderieinorchestras.Oftenaddingabitofcollaborativework tothedietofayoungpianistispreciselywhattheyneedtokeepgoing,andIspeakfrom myownexperienceregardingthis.Inmylasttwoyearsofhighschool,Ihadthegreatluck andprivilegeofbeingaskedtoplayfortherehearsalsandperformancesoftheschools musicals.Myexperiencesasthepianistfortheseshowswerewhatmotivatedmetokeep upmypianoplayingandeventuallymakeacareerasacollaborativepianist. Herearesomeoftheplacesthatnonpianiststraditionallymakemusicingroups: Orchestras Bands Choirs GleeClubs(alltherageatthepresent) Opera MusicalTheatre Rockbands DJing

Pianistsdonotneedtocutthemselvesofffromthiswonderfulworldofmusicmakingwith

others.Herearesomerolesandgenresthatpianistscaneasilyfitintoinordertotaketheir playingintothecollaborativerealm: Duets Pianoduos Playingwithinstrumentalists Playingwithsingers Playingforchoirs Becomingadancerepetiteur Becominganoperarepetiteur Playingformusictheatreproductions Musictherapy Playingjazz(muchmoregrouporientedthanclassical) Pianist/keyboardistinaband Composingforensembles Becomingaconductor

Collaborativeplayingcanbeintroducedatanearlystagethroughduets,workingwith singersofthesameage,choralaccompanying,andchambermusicfortheintermediate pianist.Therearenumerouscollectionsofworksforthispurpose,andthelistisgrowing regularly.Inadditiontointroducingcollaborationtoapianist'smusicaldiet,youare introducingasocialenergytotheirplayingthatcancompletelyreinspirepianiststo redoubletheirpracticeefforts.

Day30:TakingStockofYourAccomplishments
Thereissomuchworkinvolvedinlearninganinstrument.Whenwe'reworkingharditis oftendifficulttonoticethatwearemakingprogressatall.Weneedsomeitemsinthewin column. Itsalwaysworthwhiletotakealookbackattheworkyou'vedoneinthelastwhile,either withyourteacherorbyyourself.Herearesomemilestonestomeasureyourprogress:

Pieceslearnedtoafluentlevel.Extramarksforpiecesmemorizedand/orplayedin public.Itsusefultokeeparepertoirelistforthispurpose. Successfulrecitals,festivals,orcompetitions(andImeansuccessfulinthelevelof performancerelativetoyourexpectations.Winningoutcomesareabonusbutnotthe truebarometerofaperformance). Anincreaseinthetimespentattheinstrument. Anincreaseinskilllevel,andbeingabletodothingsthatseemeddifficultorimpossible previously. Anincreaseinthesatisfactionyoufeelinplayingtheinstrument.Improvingyourplaying shouldmakeyoufeelproudofsettingthebarforyourselfandthenjumpingoverit.

Ifyoureplanningonbuildingarepertoireoverthecourseofmanyyears,itsnecessaryto keeparunninglistoftheworksyouvelearned,whichcancomeinextremelyhandyifyoure applyingforgraduateprogramsoracademicpositions.Goneorthedaysofwritingyour repertoireinaspiralnotebook,astheycanoftengetlost.Withthemyriadofsolutions availablethroughtechnology,herearejustafewwaystokeeptrackofaccomplishments effectivelyandatminimalcost: IfyouuseMicrosoftOffice,createanExceldocumentforyourrepertoire.Youcan createcolumnsforcomposers,titlesofworks,worksmemorized,andworks performed. IfyouuseGoogleservices,createaGoogleDocsspreadsheetinmuchthesame manner. Evernoteisanotherexcellentwaytostoreinformationoveralongperiodoftime (usingamyriadofdifferentdevices),andyoucankeepampletrackofworksby creatinganotebookforrepandaddingnotestoitwheneveryoufinishawork. Themostimportantthingtorememberisthatonceyouhaveasystemgoing,keepthat

samesystemovertimeandupdateitwheneveryoufinishanewwork.Thatway,whenyou finallyneedthatreplist,itwillbeatyourfingertipsandreadytogo. Whataresomeofyourgreatestaccomplishmentsinyourplayingorsinginglately?

Day31:FindYourMuse,FindYourProcess
Forgeteverythingyou'vereadaboutinthisseriesforthelastmonth. Ivetalkedaboutschedulingtimetopractice,settinggoals,discoveringinterestingpractice techniques,incorporatingmusictheory,sightreading,andaddingcollaborativeplayinginto yourschedule.Ivetalkedaboutbuildingrepertoire,keepingtrackofit,workingbackwards, practicingslowly,aswellaspracticingsilently. ButwhatIhaventtalkedaboutisthatprimalimpulsethattellsusthatwemustmakemusic, wemustlearnaninstrument,sing,ordiscoveramusicaltradition.Thatprimalcreative impulseiswhatdrivesusasmusicians,andwhatdrivespeopletheworldovertodedicate theirlivestoart. Icanthelpyoufindyourmuse.Onlyyoucan. Artisn'taboutthingsyou"would"or"should"do.Itisn'taboutplacingyourselfinamould, norisitaboutfollowinginanyoneelse'sfootsteps.It'snotaboutconformingtothe prevailingstyle,norisitaboutrecreatingthepast. Oftencreatingartmeansdistancingyourselffromothers,disappointingothers,findingnew ways,viewingthepastonyourownterms,knowingwhattokeepandwhattothrowout. IrecallbeingtoldbyawellknowncomposerthatIwouldneverhaveacareerinnewmusic becauseIpaidtoomuchattentiontocreatingabeautifulsoundatthepiano.Hewas wrong.IalsorecallbeingtoldbyamajorpianoteacherthatIwouldneverhaveacareerifI didn'thaveaperfectlyalignedhandposition.Shewaswrong. Iknowseveraloperaticsingersthathaveabsolutelynointerestinperformingmusicwritten before1900.Ialsohaveseveralfriendswhoturnedtheirbackonclassicalmusictofind successinothermusicalgenres.Ihavealsoworkedwithsomewhoabandonedsuccessful careersinmorelucrativeprofessionsinordertofulfilltheirdreamsoflearninghowtoplay orsingclassicalmusicatahighlevel. Therecomesatimewhenmusiciansneedtofindthemusicthatgenuinelyspeakstothem, acreativeprocessthatiscongruentwiththeirwayofbeing,andamethodthatworksfor themandthemalone.

Itisimportanttocreateandfulfillgoals.Createatoolkitoftechniquesthatwork,bearingin mindthatmanyofthemmayneedtobesetasideuntiltheyareneeded. Aboveall,betruetoyourself.Yourgoalsneedtobeyourown.Yourvoiceasanartist needstobegenuine. Everyonethatlearnsamusicalinstrumentembarksonanartisticjourney.Mayyoursbe filledwithlifelonggrowthanddiscovery.

Afterword
Itsbeenapleasurewriting,editing,andcompilingthisbook,whichstartedasamonthlong seriesbackin2007andhasgrownintoafullebooknearlyfouryearslater.Feelfreeto photocopyand/ordistributethisbooktoanyoneyoufeelwillbenefitfromit.Ifyoulivenear TorontoorOakvilleinsouthernOntario,Imcurrentlyacceptingnewstudents,atmyOakville homestudio.ImalsoavailabletogiveworkshopsandlecturesaboutthemanythingsIve discoveredasaprofessionalinthemusicbusiness. Iencourageyoutocontactmewithanyquestionsorcommentsyoumayhave.Allyouneed todoisemailmeatcollaborativepiano[at]gmaildotcom.Ilookforwardtohearingfrom you.