Category: Parents

Practice Like a Pro

Learn how to practice like a pro! Doing well at anything requires practice. Lots of practice! There are no shortcuts! Practice takes time, lots of time. It can be boring. Practice is not usually fun. But learning how to effectively practice is one of the most important things you can learn as a musician! Let me give you some ideas on how to make the most of your practice time.

Best Tips for Effective Practicing

Plan to Practice

Make a plan to practice. Just as you write tasks, assignments, appointments in your planner, do not forget to include your music practice in your daily plans. If you tell yourself that you will practice when you finish everything else, most likely you will not get to the practicing. Choose the time and place to practice that works best for you. My last year in college, because of the way my class and work schedules worked out, my slotted/assigned piano practice time was from 10 p.m. to midnight. Was it ideal? Probably not, but it worked for me. Fortunately for everyone else, the piano I was using was in a separate building, far away from where anyone was trying to sleep!

Always Take Time to Warm Up

No matter when you decide to practice, always take time to warm up. Proper warm up is SO important! This will help you in so many ways. It will prepare you for the practice session, it will get your muscles involved ready to work, and warming up will help you begin to focus on practicing. Warming up is never a waste of time! Work on long tones for tone quality, pitch control and embouchure endurance. Do slow, and then faster scale patterns. Do some physical stretching to prepare your body for the practice session. Always do warm ups!

Be Intentional

Have a plan for each practice session. What are you hoping to accomplish? Be specific. Don’t just hope to play through the first movement of the sonata without any mistakes. Have a plan. “I am going to work on the correct dynamics of the first sonata movement. I think I am missing some crescendos.” The more specific your plan is, the better you will be able to accomplish your goals.

Be Efficient

Your practice time is limited. Use it efficiently! Don’t let your mind wander while you are trying to practice. You won’t know whether you played something correctly or not! Stay focused. Concentrate on what you are playing and how you are playing it. Listen while you play. Do you like what you hear? Why not? What can you do to make it better? Be your own critic and solve the problems you hear. I used to have a teacher who would tell me (repeatedly!) that if my mind was not engaged with what I was playing, I was wasting my time. Who has time to waste in the practice room?

Isolate the Problems

The purpose of practicing is to solve problems. Don’t spend all your time playing a piece from beginning to end repeatedly. Most likely, you can play most of the piece well. Find out where you are having problems, mark them, and focus on correcting the specific problems. Let’s say that in measure 22 you have problems playing an arpeggio section. Don’t play through measure 23 and then go back to the beginning. Take just measure 22 (where the problem is) and work on solving the problem. Play it through very slowly, but correctly. Do it several times that way, then take it just a tiny bit faster. Gradually increase the tempo until you can play it correctly several times at the correct speed. Then play measures 21-23. Does the problem section sound better? Then try playing measures 17-25. When you can do that correctly (several times), then you can think about going back to the beginning of the piece. Don’t waste your time repeatedly playing what you can already play well, focus on the problem parts!

Mark Your Music

There is no rule against marking your music. Smart musicians will mark their music to help them remember what to do, or what not to do. Markings can point out sections that need more practice, accidentals you miss too often, key changes, time signature changes, etc. You may not want to mark all this on your original copy of the music. (For competitions or auditions this would not be a good plan!) Make a copy of the music and mark all over it. Use different colors, use erasable highlighters. Use colored pencils. Whatever works for you. As you are playing through a piece, mark the problem spots so you know what needs special attention. (And so you won’t forget where the problem areas are!) Markings will draw your attention to certain things that you might forget about. You can mark where the melody line is. Mark your dynamic changes. Highlight where different voices enter. (Bach fugues?) Marking your music is a tool to make you a better musician.

Practice Slowly

I had a professor tell me once (or more than once!) that if I could not play the piece/passage correctly slowly, I would never be able to play it correctly up to tempo. He was right. When we play everything up to tempo all the time we learn to sort of gloss over the problem and hope no one notices. When we play through the passage slowly, we hear all the mistakes and unevenness that need to be corrected. So learn to practice slowly, find the problems, solve them, then work your way gradually back to the correct tempo. Slow practice is SO important!!!

Practice until You Cannot Play the Piece Incorrectly

When we practice, we are training muscles to respond correctly so the music is played correctly. We need to practice until our muscles automatically know what to do next – without conscious thought being involved. Our fingers/hands need to know what to do so our mind can focus on making the music flow from the finger/hand response. And that requires much practice! Concentrated, focused practice. Practice until the passage is played correctly every time, not just once in a while. Play a game with yourself – commit to practicing a section until you can play it correctly ten times in a row. If you mess up on time #8 then you have to start over at #1 again. If it takes an hour to accomplish that challenge, then take an hour. But when you finish, you will be able to say that you really accomplished something in that practice session.

Strategies for Solving Problems

Listen to Find the Problems

You must listen while you play in order to find the sections that need extra attention. You can not put your brain in neutral and just mindlessly play through a piece and expect to improve. You must focus and listen. Find where the problems are. Train your mind to listen critically to find things that need attention. Don’t rely on your teacher to find all your problems for you. Be your own critic. It might help to occasionally record yourself, then follow your music while listening to the recording. Mark all the things you hear that are not correct, or that don’t sound quite right to you. Then you know what to go back and work on.

Mark the Problem

One you listen and find a problem passage, mark it! Most likely you will not remember where every problem section is, and then you will waste time trying to find it again. Mark your music when you hear something wrong so you will remember what you need to come back to.

Analyze What is Wrong or What is Causing the Problem

When you begin to work on a problem passage, first, think about what is wrong with it. Are you playing wrong notes? Missing an accidental? Is the rhythm wrong? Is the passage uneven? Are the dynamics wrong? Before you start to practice the passage, you need to know what you are trying to correct.

Isolate

Isolate the problem. Don’t work on two pages if the problem area is only two measures long. Concentrate on solving the problem in just those two measures. When you are confident you can repeatedly play those two measures correctly, then work those two measures back into the context of the piece. Start two measures before the problem and play for a couple measures after the problem. When you can do that well and up to tempo, add in a few more measures.

Practice to Solve the Problem

Remember your focus – what are you trying to correct? Solve the problem! Maybe you need to experiment with different fingering to make the passage easier to play. Maybe you need to mark that missed accidental in some bright color so you can’t possibly miss it again! Keep your mind focused on what you are trying to accomplish. Don’t give up and quit before you finish.

Learn how to practice efficiently and effectively! This is probably one of the most important things you can learn as a musician. The sooner you learn effective practice techniques, the sooner you will become a better musician! So go out and Practice Like a Pro!

Happy Practicing!

This link will give you some additional ideas to help your child practice.

And if your child does not want to practice, here are some ideas that might help.

Buying New Strings – What You Need to Know

Buying new strings for your violin (or viola, or cello)? There are several things you need to know before you press “buy.” Some of them you probably never even thought of before. I’ve had string players in my home for over 20 years, and still had to ask several questions before our last string purchase. There are so many options! How do you figure out exactly which strings to buy? And how do you know when to get new strings? Let me help you figure this out.

When Is It Time for New Strings?

First Big Question – When is it time to get new strings? How do you know? Guess what – there is no easy answer! Strings do not come with expiration dates. They don’t turn colors when they need to be replaced. The answer is somewhat subjective. Obviously, if a string breaks it must be replaced. But what about the ones that don’t break?

If the end of the string is starting to fray or unravel, it is probably time for new strings. It is probably time for new strings if you are having to work harder than usual to get the sound you want. If your strings are unresponsive, or dull-sounding, you probably should get new strings. Having a hard time getting your strings to stay in tune? That might also be a sign that it is time for new strings.

The more you play, the more frequently you need to replace your strings. For an advanced player, someone practicing several hours a day, strings probably need to be replaced every 3-6 months.

Buying New Strings – What You Need to Know

What do you need to know before placing an order for new strings? A Lot! Not only do you have to know the correct instrument and size, and which strings, but you have to know what type of end you need on the string, gauge, brand, core, tension, full set or not, etc. Let’s take a look at each of these.

What Instrument, What Size, What String?

First, you must specify your instrument, the size of your instrument, and the string you want. Be sure you choose the strings for your instrument – violin, viola, cello. OK – this seems basic, but you don’t want to be careless and make a mistake and order the wrong strings!

Then, what size instrument do you have? Full size? ½ size? And if you are playing viola, full-size doesn’t one size. There are several sizes of full-size viola. Know the correct length of your viola. (Viola length is determined by the actual length of the body of the instrument, not including the fingerboard. Most full-size violas are between 15.5 and 16.5 inches.)

And then, if you are not ordering a full set of strings, be sure you order the correct string.

Full Set of Strings or Individual Strings?

Which brings us to the next question. Do you need a full set of strings (all four), or are you just replacing one string? Do you want the same brand of strings for all four strings, or are you planning to mix brands? Know that you can buy a full set of strings, or you can purchase strings individually. For younger players, you will probably be well served by just buying full sets of strings.

More advanced players may like the sound of different strings for different ranges and may choose to buy strings individually. How do you make that decision? Ask your string teacher for suggestions and advice. Some online stores will list sound descriptions of the different strings they sell to help you choose what you want. (dark, mellow, bright, etc.)

How Do the Strings Attach to your Instrument?

You need to know how your strings attach to the tailpiece of your instrument. Do they have a loop at the end, or a ball at the end? And sometimes strings come with a tie knot. Tie knot ends attach the same way that ball ends strings do – the knot replaces the ball. And some strings now are sold with removeable balls – you can use it with the ball or remove the ball and have a loop end.

If you don’t know which end you need, ask your teacher or orchestra director. If any of your strings have fine tuners, strings with ball ends work well for tuners with two prongs, and strings with loop ends work better for tuners with one prong.

Cores and Wrappings

The next two things you need to think about are cores and wrappings. Strings are made with one of three core materials: gut, synthetic (composite) or steel. Each core material affects both the sound of the string and its responsiveness.

Gut core strings offer a full, rich, complex tone. Steel core strings are often very bright-sounding, and they tend to produce a more “metallic” sound.  Synthetic core strings are similar in sound to the gut core strings but are more resistant to temperature and humidity changes. They hold their pitch a bit better than the gut core strings.

Often these strings are wrapped or plated with a different material – like aluminum, silver, gold, or titanium. How to choose? Each material will affect the response and tension of the string. Also, some may react with an individual’s body chemistry differently.

Gauge and Tension

Finally, you must decide on gauge and tension. Most student violinists (violists, cellists) will be fine with medium gauge and medium tension. Gauge measures the thickness of the string. While most will want medium gauge strings, the other options are thinner (or “weich” or “dolce”) and thicker (or “starck” or “forte”).

Tension refers more to how hard you must press on the string, or how pliable the string is. Unless you have a specific reason for “lighter” or “heavier” most people use a medium tension.

Where to Buy and How Much Will Strings Cost?

You have figured out all the details you need for buying your new strings. Now, where will you buy them, and how much will they cost? Start with your local music store – see if they have what you need. If you are buying basic student strings, your local store should have them, especially if they service or provide school instruments. And if you break a string the day before your performance, your local store could be a godsend.

If you are looking for more advanced strings, or more specialized strings, you may have to order them online. I have personally purchased strings from Shar Music (sharmusic.com) and from Southwest Strings (swstrings.com). Both have a great selection of strings available. (And no, I don’t have any connection with either store.)

How much will they cost? As you search, you will find that the cost can vary a lot, based on the strings you want and the instrument you play. A full set of student violin strings will be between $15 and $20 while a full set of better quality strings for violin could be $150 or more. A full set of student cello strings is about $50, while a set of higher quality cello strings could cost over $250.

Put the Strings on the Instrument – No Easy Task!

Have you ever put strings on your instrument before? If not, it’s best to have your teacher help you with this. It’s not as easy as it looks. It is too easy to break a new string when putting it on, if you don’t know what you’re doing. (Been there, done that.) But the #1 most important rule when replacing strings – only do ONE string at a time!!!!! Otherwise, you risk have the bridge fall out

More Resources

You might want to check out these other resources for more information about buying strings.

This is a great article explaining the different kinds of strings, gauges, tensions, etc. Read here.

Here is another article about choosing and buying strings.

This article explains the process of changing strings.

Here are some other sources I used for my research. Read here, here, and here.

What to Expect from the First Lesson with a New Music Teacher

Are you starting your child with a new music teacher? Have you had to leave your music teacher? Maybe you moved, or the teacher moved, or the teacher just wasn’t working out. But now you have found a new teacher and are ready to get started. What should you expect from that first lesson?

The New Teacher

I hope you have found a great music teacher to continue with your child. Does the teacher offer a trial lesson? Have you gotten any references from this teacher? Have you checked out the references? Does the teacher have a printed (or online) studio policy covering payments, recitals, missed lessons, and make-up lessons? Have you read through the studio policies?

Still looking for that perfect teacher? Check out these suggestions.

Or are you still thinking about changing music teachers? Consider these ideas.

Prepare Your Child for the First Lesson with a New Teacher

Be sure your child is aware of what is happening. Does he know he is getting a new teacher? Does she know she is not going back to a former teacher? For some kids, this could be a big deal. Some are very resistant to change, or apprehensive about meeting new people. (I have a couple girls like that!)

Tell your child what you know about the new teacher. What is the teacher’s name? What should they call the teacher? How far will you have to travel to get to the new studio? Does your child know anyone else who takes lessons from this teacher?

It’s a good idea for you to plan to stay in the lesson with your child for the first couple of lessons (especially if your child is younger, or very nervous/upset/apprehensive about the whole process). This will give your child some reassurance and will allow you to observe how the teacher teaches and interacts with your child.

Your child should be prepared to play some music she has worked on recently, something she has played in the past. The teacher may ask your child to play something she worked on several months ago, some scales or technical exercises, a favorite piece, and some sight reading. All this helps the teacher understand your child’s musical understanding and abilities.

What Should Your Child Bring to this First Lesson?

  •         Any music used in the last year or so
  •         All method books, theory books, and technique books
  •         Assignment notebook from the last teacher

Teacher Assesses the Student

                During this first lesson the new teacher will be trying to understand your child’s musical abilities. What has he learned so far? What does he do well? What does he need to work on? The teacher will also be looking for any technical problems your student may have, and posture problems that need to be corrected, any issues with form or technique that need to be addressed.

                Don’t be alarmed if the teacher suggests changing a bow hold, or changing a hand position, etc. This is part of the reason you sought a new teacher – you want your child to make more progress with his instrument. Changing certain things may be just what your child needs! This is not necessarily a criticism of the former teacher, but an improvement to help your child.

                The teacher may also suggest new music, or a new series of method books. Again, this is not a direct criticism of your former teacher. Different teachers have different approaches, and different lesson books are more effective with certain approaches than others.

You Need to Assess the Teacher

Observe

As the lesson progresses, you should be watching how the teacher interacts with your child. Is this someone your child will relate to? How professional is the teacher during the lesson? Is there a connection with your child?

I remember watching my son’s trial lesson with one of his cello teachers. He had my son play a piece, and then asked him why he played it the way he did. The teacher just wanted my son to think about what he was doing, and to have a reason for the way he played the piece. The teacher made a couple suggestions, then had my son play the piece again. It sounded so much better. I remember thinking that, yes, this was going to work. He studied with that teacher until he finished high school, and really enjoyed working with him.

While watching this first lesson, you should also check out the condition of the studio. Is it safe? Is it clean? Is there enough room for student, teacher, equipment, instruments, etc.?

Ask questions!

Do you understand all the studio policies regarding payment, missed lessons, make-up lessons, recitals, performances, etc.? If the teacher wants you to change method books, ask why. Why does he/she prefer this other set of books? What will your child gain from switching to a different set of books? How will this affect your child’s progress? Ask the teacher what he/she sees as issues that need correcting/changing. How will the changes benefit your child? The teacher should be able to give good answers to all your questions.

Final Evaluation

Think through this first lesson. Carefully consider what you observed.

  • Will your child adjust and enjoy working with this teacher?
  • Can you trust this teacher to do what is best for your child?
  • Will the teacher’s approach work with your child?
  • Do you feel that your child will make good musical progress with this teacher?
  • Will working with this teacher help your child enjoy playing her instrument more?
  • Can you work with the studio policies?
  • Are both you and your child comfortable with this teacher?

I hope you have found a great teacher that your student will feel comfortable with and learn from! Tell me about your favorite music teacher in the comments. (Or maybe, your least favorite teacher!)