Practice time!

So how do you set out your practice time?

Do you have a set routine that you always stick to?

That’s pretty good if you do. If you can get a habit formed in terms of a regular practice time and practice style then you’re setting yourself up well for some awesome productive practice. I hear it takes around 11-12 weeks of continuous practice for a habit to become ingrained. So if you’re not practicing regularly, but you want to start getting the habit of it built-in set a reminder on your desktop calendar or on your phone that tells you it’s time for practice!

And don’t beat yourself up if you’re not able to do it every single day (in fact I’d say giving yourself one day off out of seven is probably healthy). Just aim to practice most days out of seven in the week, even if it’s just 10 minutes. Something is better than nothing at all, and it is from these little baby steps that we gradually build up our practice, working with our natural abilities to become competent guitarists and fantastic musicians. One step at a time. And remember, if it takes around 11-12 weeks to build in a habit, it’s going to take you around three months to get that habit truly ingrained.

Set yourself a goal

If you’ve not got a regular practice time or practice schedule booked into the brain, set yourself a goal from now.

Right. If we’re in mid-September now, that takes 12 weeks out to around mid to end of November.

As well as that reminder in your phone, post in stopping points every four weeks to ask yourself where are you in terms of your daily or regular practice? Is it feeling ingrained? Is it working? Do you need to change something? Is there a better, easier or more productive time of day for you to practice?

Rinse and repeat – to a point..

I also hear that  it takes our brains around 20 or days to learn new patterns – so don’t be stressing if you can’t get that chord change or finger movement yet or a piece memorised after a couple of days.

Do pick out a tricky spot from the music – you know, that little bugger of a finger twister, that funny little run, that “thing” in bar 12 or whatever – and work it through slowly methodically. Pick it apart. Find out EXACTLY what is going wrong, or rather what is not quite working right and what you need to do with your left hand fingers AND your right hand fingers to get it working as you want it to sound. Back it up a mo – just checking, you do know how you want it to sound right? Good, because that’s half the battle in getting to work. Know exactly what you want, and then it’s just a case of working on some of the mechanics for your fingers to deliver that for you.

Yes, do pick out that tricky spot, but DO NOT go repeating it countless times. If it’s still not working go back to figuring out what you need to do to fix it up. And if you’re not sure what that is then it’s definitely one that your teacher will be able to help you with!

So, yes repeat it a few times when you’ve got it more or less figured out. Do this S-L-O-W-L-Y. Don’t be in too much of a rush to get it up to speed just yet. There’s plenty of time for that. Just focus on getting it right, getting it settled, getting it sounding exactly how you want. Speed comes later, and only ever to serve the music.

And then leave it to sink in for a while. You might want to come back to it later in your practice session. You definitely want to pick out that little tricky spot in your next practice session. I can pretty much guarantee it will be a lot less tricky the next day and the next, until you will have forgotten what all the fuss was about!

Approaching a new classical guitar piece for the first time

A six-part fugue from The Musical Offering, in...
JS Bach Fugue. What a dude. (Photo credit: Wikipedia)

This is a topic I’ve had lined up for a couple of weeks now and it has serendipitously coincided with myself starting work on a new piece this week.

So, I thought I’d share with you some thoughts on cracking into a new piece for the very first time.

What’s the score?

Be discerning with the edition of sheet music you use. I reaffirmed this to myself only this week (as my Twitter followers will know!) that just because a particular edition of a score has been published doesn’t necessarily mean it has been thoroughly proofread, well-edited or is in fact realistically and musically playable. In the example I had this week there were just some ridiculous fingerings applied, very basic editorial oversights and slightly bizarre sounding chord arrangements. So, do your homework, check around and ask others about good editions to use.

If you’re playing a piece from a graded examination list then they will usually recommend a good edition to use. It certainly does no harm, however, to explore what else is out there though.

You might be interested in how your version compares to an urtext edition (i.e. original score), especially so if the piece is a transcription from another instrument, such as violin or cello perhaps for Bach, or piano for Albeniz and Granados.

Listen up!

One of the things that I do when first adding a new piece to my repertoire is listen to a number of recordings of the same piece by different guitarists. I also think there’s excellent value in listening to the same piece in its original instrumentation if it has been transcribed for guitar, and other instrumentation too for an alternative perspective. This is super easy and cheap to do these days with legions of freely available videos on YouTube. Yay YouTube! OK, there’s some questionable material on there, but there are also a lot of great contributions from very talented amateur and professional musicians alike.

Listening to various interpretations of the same piece can first of all help you pick out certain nuances which may not be immediately clear – maybe it pricks your ears up in a “ooh I like how she plays that bit” kind of way. Secondly, it can help feed some ideas into your own eventual interpretation of the music. It’s all good fuel for the fire.

Once you’ve listened to those alternate interpretations and you’ve started on really learning the piece, I’d be wary of listening too intently to recorded versions. Well, that’s what I do anyway. I think you have to let all that visual and aural information you’ve collected just percolate through you and coalesce, helping form your own unique approach.

What else should I think about?

OK, now you’ve taken a good look at the score, listened to innumerable recordings and watched oodles of YouTube clips, some questions to ponder on when you’re approaching the piece are:

  • What is the style of the piece? Does it have a particular theme or mood in mind? Is it a kind of dance form?
  • Where is the melody? Where is the harmony? How do they relate to one another?
  • Are the bits that you think are harmony bits really harmony bits or are they also melody?
  • How do you want to play it – tone and shape?
  • What’s your end goal for the piece? How do you want it to sound?

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Podcast

Before I forget, I have another podcast for you:Practice and Perception – Do you hear what I hear?

I’ll stick this one over on the podcast page too.