Ten tips for better music practice

by Chris Beckett
The Little Book Of Groove: How to be a great musician
What is a great musician?
A big question. When ask it to m! music stu"ents# the! normall! re$l!% $ractice# $ractice an" more
$ractice. &ractice 'an" lot(s of it) is im$ortant# but there is much more to becoming a great musician
than that. (ve ha" $u$ils who# when the! came to me# ha" religiousl! $ractice" two to four hours
$er "a! 'an" ha" "one so for man! !ears)# !et their $la!ing was unins$iring an" inconsistent. *ou
certainl! woul"n(t have calle" them great musicians. +o what else "o !ou nee" to "o to become a
great musician, Well# it(s not actuall! an!thing !ou nee" to "o it(s more something !ou nee" to be.
All that $ractice an" $ers$iration !ou invest in !our instrument coul" go to waste if !ou "on(t have
the right mental a$$roach to music. Being a great music is more about !our state of min" than
an!thing else. f !ou "on(t have the right musical a$$roach !ou are buil"ing walls across the $ath
between !ou now# an" !ou that coul" be a great musician. With a goo" a$$roach# !ou can begin to
clear a $athwa! for !ou to $rogress an" im$rove as a musician. A goo" a$$roach can hel$ !ou fin"
the groove( "own which !our music can flow# change an" grow.
n-uries# strains# tension# stage fright# lack of confi"ence an" musical stagnation are all cause" b! a
har" naile"( a$$roach to learning music. The book is $ractical% it has [Link] to $ut all the i"eas
into $ractice straight awa!. The book is "esigne" to be rea" easil! an" quickl!. t(s brief# concise
an" eas! to "igest.
What makes a great musician?
/usic is "own to taste# an" one $erson(s great musician ma! not be another $erson(s. *et think
there are qualities that all great musicians have. A great musician is in"ivi"ual an" unique. Their
music is an e.$ression of who the! are. A great musician "oesn(t tr! to hi"e behin" their instrument#
nor "o the! $reten" to be something the! are not. A great musician is alwa!s "iscovering more
about their music. A great musician never thinks "on(t nee" to learn more(. To "o that woul" be to
loose the essence of being a great musician. There is often a m!ster! to a great musician(s music# as
if the! are unsure of where the! are going. The! -ust let go into their musical $rocess an" see where
it takes them. Take time to learn !ou instrument# let go of !our e.$ectations an" loose !ourself to
!our music# an" !ou too coul" be a great musician.
What's the groove?
The groove is the $lace where all great music is create". Great musicians know that where the!
want to go is in the groove. The groove is a $lace where the $la!er lets go of tr!ing to control their
music# an" let(s themselves be carrie" along b! the music. n the groove the musician an" the music
become one an" the same thing.
Finding the groove
A great musician will "o ever!thing he can to fin" the groove# an" that means creating a climate for
the groove to be foun". A great musician has a "ee$ un"erstan"ing of their music# !et the! let go of
an! e.$ectations the! have about their music. The! nee" to have a sense of a"venture an" be
willing to go into the unknown without tr!ing to control what will ha$$en.
Music is a dance
To $la! music is to be immerse" in a $rocess of infinite com$[Link]!. 0ountless $arameters are
working together at the same time# an" ever!thing is connecte" to ever!thing else. 1or the whole
$rocess to work effectivel! !ou nee" balance. Too much heaviness in one area will cause the whole
$rocess to stall. The flow will cease to be smooth. Great musicians alwa!s have an awareness of
balance in their $la!ing% watch them an" !ou can see econom! of movement# $ressure an" breath.
The! use [Link]! what(s nee"e"# no more an" no less. Their whole bo"! is balance"# !et it
constantl! changes to what(s ha$$ening. Their $la!ing is a "ance# a "ance of effortlessness.
Learning the hard way
When stu"ents begin to learn music# the! normall! a$$roach it in the wa! the! were taught to learn
things in school. The! focus all their conscious awareness on what the! are "oing. Their min"s tr!
to force their han"s an" bo"! to "o what the! want to "o. n "oing this the! stifle their unconscious
awareness# an" that slows "own the learning $rocess. The! begin to struggle an" strain in an effort
to force themselves to $la!. Often the! become tense an" frustrate"# which lea"s to muscle tension
an" [Link].
Take it easy
t(s a har" truth# but the stu"ents who $rogress quickl! are the one(s who "on(t tr! too har". t(s not
that the! "on(t want to be a great musician# it(s -ust that the! un"erstan" how to a$$roach learning
an instrument. The! know that to run in with e.$ectations an" "eman"s locks u$ their $la!ing an"
sto$s the flow of their music. B! letting go into their $la!ing the! fin" it more interesting# creative
an" insightful.
spanner in the works
/usicians who want it all ba"l!( will alwa!s $rogress much slower. The! are the ones who have
e.$ectations about how the! will $la! in 3# 4 or 5 !ears. The! have a rigi" i"ea of what shoul" be
going on when the! $la!. The! throw a s$anner into their musical s!stem an" then won"er wh!
their $la!ing is stiff an" fro6en.
!nder pressure
A great [Link] to sto$ !ourself controlling !our $la!ing $rocess is to observe !our bo"! in the
secon"s before !ou begin to $la!. &ick u$ !our instrument an" $lace !our fingers an" han"s where
the! nee" to be# but "on(t $h!sicall! a$$l! $ressure or $la! an!thing. 1eel what is ha$$ening in the
muscles in !our han"s# fingers# arms# or vocal chor"s. Often $eo$le are sur$rise" to fin" that the!
can(t hel$ tensing their muscles# even though the! are -ust resting their han"s an" fingers# or -ust
waiting to sing. This is something we a"" on to our $la!ing. &eo$le often $ut "own their struggle to
what ha$$ens when learning something new# but often it is this a""e" tension that causes the
$roblem. When someone learns to $la! an" let go of struggling# that a""e" tension fa"es awa!.
Comparing yourse"f to others
/an! of m! beginner stu"ents com$are their $rogress to others in a grou$. The! see themselves as
better or worse than others. This e.$ectation then transforms into a "eman" when the! begin to
$la!. 7eman"s control !our $la!ing as !ou want the e.$ectation to be fulfille". That control sto$s
the flow in !our music.
wareness is the key
Take !our $a$er an" stick it to !our instrument. Whenever !ou come to $la!# !ou(ll see the "eman"
an" be remin"e" of what !ou want to "ro$ from !our $la!ing forever. The $a$er is there to remin"
!ou of what !ou want to let go of# not a list of things !ou want to $ush awa!. B! $ushing !our
"eman"s awa! !ou are still tr!ing to control !our bo"!# which will react b! locking u$ an" sto$$ing
!ou entering the groove. When !ou $la! be aware of !our "eman"s but avoi" struggling with them.
1ocus on !our $la!ing in the moment# aim to en-o! the sensation of $la!ing for its own sake. f !ou
fin" !our min" fills u$ with "eman"s of this an" that 'an" this ha$$ens $rett! easil! to me) it is
im$ortant to avoi" $ushing things awa!. t is strange# but b! -ust acce$ting ever!thing that goes on
in !our min" an" bo"!# !our music will flow an" !ou(ll enter the groove.
#ood habits
When !ou sto$ $la!ing# it(s goo" to get into a habit of looking at !our list of "eman"s. t(s eas! to
forget what that $a$er is there for# an" !our min" can easil! forget what it has worke" so har" to
remember. 8se the "eman" list as a cue% see the $a$er: nee" to be aware of what is ha$$ening in
m! min" an" bo"! when $la!(.
$tuck in a rut
/an! musicians feel that the! are not moving forwar". The! often sa! to me that the! are in a rut:
the! "on(t know where to turn to or what to "o ne.t. Often the! seem unclear of how the! got into
their rut% man! think it(s comes with $la!ing a long time# when the! feel the!(ve seen an" "one
ever!thing. The! believe there is no where else for them to e.$lore.
The river dries up
+tagnation is the result of tr!ing to control !our music. Over the !ears the flow of music gra"uall!
"ries u$# until there is no more flow. The $la!er sto$s moving an!where. t can be a "ifficult time#
an" man! $eo$le tr! to la! more an" more control over their $la!ing. The stagnant musician must
immerse themselves in the moment b! moment -o! of $la!ing music. n that moment !ou are not
$la!ing for others# nor even for !ourself% !ou -ust $la!. All !ou nee" to "o is loose !ourself in !our
music. Then !ou(re "rinking from an en"less well of creativit!. n this $lace stagnation is
im$ossible.
%ifferent every day
Great musicians can alwa!s fin" new wa!s of $la!ing the same music# in fact the! fin" it
im$ossible to $la! an!thing the same wa! twice. 9ach "a! has it(s own feelings# -o!# fears an"
loves. All that is mirrore" in their $la!ing on that "a!# !et on another "a! it woul" be "ifferent
again. Great musicians are bus! being involve" in the music as it ha$$ens to be worrie" about
hol"ing onto an i"ea about what the! shoul" be "oing.
&ou don't have to be perfect
A great musician "oes not have to the most technicall! a"e$t musician. Being a great musician is
more about !our state of min" an" a$$roach to music than an!thing else. Being a great musician is
not about being a $erfect musician# it(s about communicating something through !our music. That is
not to sa! that great musicians shun learning more about their instrument. n fact the! want to learn
more because it hel$s them to reach out to their au"ience more. The more the! know about their
music# the more the! can reach into themselves an" fin" out who the! are.
'(pecting too much too soon
There(s a $art in all of us who wish to instantl! be great musicians. Our egos( want us to whisk
through the basics( so that we can get on to the har" stuff. Wh!, Well# once we(ve learnt that we can
"a66le an" ama6e our au"iences. Once we im$ress# we believe that others will see us as great
musicians# an" so therefore will we.
Being impatient
Our ego is im$atient# it wants us to be fantastic now# not tomorrow or in 5 !ears. A $art of us "oesn(t
want to go through the slow an" gra"ual $rocess that lea"s to "ee$ learning an" un"erstan"ing. A
$art of us wants to ski$ ahea" to the ne.t thing# alwa!s more interesting than the thing we are
$la!ing at the moment.
$tretching too far
9ver foun" !ourself stretche" in a thousan" "ifferent wa!s# half learning songs# solos or choruses,
*ou "es$eratel! move from one $iece to the ne.t# never reall! feeling that !ou(re learning an!thing.
This is !our ego telling !ou how to learn music. That $art of !ou is looking for a quick fi.# to feel
that it(s reall! great# to show off. t $ulls !ou this wa! an" that# never reall! giving !ou an!thing !ou
nee" to $rogress.
$o"id foundations
The ego is a great barrier to learning because it sto$s !ou focusing on one thing at a time. *ou have
to rela. into what !ou(re "oing to allow a "ee$er un"erstan"ing of it to emerge. Great musicians
know that great $la!ing is built on soli" foun"ations of sim$licit!# such as timing an" feel. This is
the rock the! buil" their com$[Link]!( on. Without a foun"ation their com$[Link]! woul" sim$l!
become chaos.
house of cards
f !ou reach too far too quickl! !ou invite chaos into !our $la!ing# !our music can all too easil!
colla$se in on itself. *et if !ou immerse !ourself in the sim$le things in music !ou will be rewar"e"
with an un"erstan"ing an" "e$th that goes far be!on" what !ou have learnt. *our whole
un"erstan"ing an" $la!ing of music will "ee$en# an" !ou will invite the flow of music to hel$ !ou
fin" the groove.
Wide foundations
Learning music is like buil"ing a $!rami". The foun"ations are the wi"est an" "ee$est $art# an" it
form most of the $!rami". The longer time !ou take over the basics(# the easier it is to buil" the
$!rami" higher. Great musicians buil" the biggest foun"ation the! can# in fact the! never sto$
buil"ing a foun"ation. f !ou are "one with !our foun"ations# !our musical flow will "r! u$. A great
musician is never "one with an! $art of his music# no matter how sim$le.
)roof of progress
When musicians invest time into their $la!ing# the! naturall! want to see signs of $rogress. We
want $roof that we are getting better. But there is a $roblem in this when we "efine what the result
of our effort shoul" be. The goal begins to "ominate the $la!ing# an" so it becomes har"er to focus
on !our moment to moment $la!ing. There is a $art of us who want concrete milestones. We want
to believe we have move" $ast( somewhere# so we "on(t have to think about it an!more.
*ever "ooking back
t is "angerous to believe !ou have $ast a $lace# an" never nee" travel backwar"s again. n "oing
this !ou $ut u$ walls to creativit!# lessen the flow of music. The groove is har"er to fin" when !ou
have to live u$ to e.$ectations of being an e.$ert. Great musicians know that all music learning is
connecte"# an" that ever!thing is built u$on foun"ations. To go back is to look at !our whole
$la!ing with fresh e!es.
%raw your map
t can be ver! useful to "raw a ma$ of !our $la!ing. Write "own all the $laces !ou have been to.
The! can be concrete# such as $la!ing a melo"! in time or $la!ing a solo. Or it can be more abstract
such as being more confi"ent on stage or feeling more honest with !our music. Then !ou can write
"own where !ou want to go to. These coul" be concrete or abstract. The! coul" also be near goals
such as being able to $la! a $iece to an ok stan"ar"# or it coul" me more far reaching such as
becoming one of the worl"s best $la!ers of !our instrument. Onl! !ou know what !ou want to
achieve an" get from !our $la!ing.
+ shou"d be ab"e to do this
have ha" man! $u$ils who# when the! come to a "ifficult! the! become frustrate". The! coul" "o
it last week or on their own# so the! thought the! were $ast it. The! sa! shoul" be able to "o this(#
an" of course their frustration makes it all the har"er. The! are looking at their learning in black or
white% either have learne" something or have not. To believe this is to believe !ou are a robot#
an" all !our learning takes a $erfect linear course.
,ariety is the spice of "ife
There is an [Link] !ou can "o to hel$ break out of routine habits ever!one "evelo$s when learning
something new. When $la!ing new music or re2visiting ol" material# it is im$ortant to a$$reciate the
intricac! of all music: no matter how sim$le# an!thing can be $la!e" in infinitel! "ifferent wa!s.
*ew territory
+it for a few minutes before $la!ing the same $iece again. Once again# write "own !our
observations. This time aroun" !ou are looking for an! changes or new "iscoveries. An! new
feelings# emotions or $h!sical sensations, f !ou(re in the groove wh! not tr! the [Link] for a thir"
time,
Fascination
Becoming aware of the subtleties in music allows us to fall in love with the $rocess of learning
music. What use" to seem rigi" an" boring now becomes com$le.# organic an" ever changing. t(s
this fascination that will carr! !ou through an! "ifficulties an" setbacks !ou come across. *our
$la!ing will become finer an" "elicate as !ou begin to notice the "etails an" la!ers in !our own# an"
others music.
)ushing away
To $ush awa! a $art of who !ou are when !ou $la! is not the same as letting it go. t can be
comforting to $ush awa! the things !ou "on(t believe shoul" be there# because we want to a$$ear
$erfect to ourselves an" others. *et in "oing this we take awa! the soul of our $la!ing. We tr! to
a$$ear to be something we are not# more ca$able# less afrai" or confi"ent. When this ha$$ens !ou
become cautious of ever! move !ou make% !ou start to tr! to control# an" the flow of music "ries
u$.
-../ yourse"f
To be a great musician is to be 3::; !ourself. The! are e.$ressing how the! reall! are# not as
$aro"! of themselves. Having a stage name or such like has nothing to with it. *ou either $la!
honestl! or !ou "on(t# onl! !ou can know. Being honest is frightening an" ama6ing# it is stan"ing
nake" in front of !ourself an" others. *ou cannot be honest an" $ush an!thing awa!. *ou must
acce$t ever!thing !ou are. f !ou(re afrai"# be afrai". f !ou feel !our $la!ing is rubbish feel that
too. That is not the $roblem# an" !our music can an" will flow with all this going on in !our min".
The $roblem is when !ou "en! !our feelings# an" !ou $ush awa! that which !ou "o not want others
to see.
ccept who you are
Of course $eo$le being $eo$le# the! often $ush awa! $arts of themselves. That isn(t too much of a
$roblem# it(s eas! to laugh at !our min" an" move on. But if !ou -u"ge !our $ushing awa! as ba"#
then !ou move further awa! from where !ou want to be. The groove will be har" to fin" when !ou
battle with !our min". The more !ou -u"ge an" control# the more !ou move out of !our bo"! when
$la!ing# an" the "ee$er into !our min" !ou fall. The answer, Let !our min" "o what it wants to "o#
because that is all !ou can "o.
+ndividua"ity
What is it that makes some musicians stan" a$art from others, 9ven when $eo$le have similar
abilit! levels# some -ust shine through whilst others seem to lack something. When a musician has
an in"ivi"ual voice the! are $la!ing the true role of a musician% communicating themselves# their
me2ness(. /usicians who lack s$ark are -ust acting out the moves without that authentic connection
to who the! are. Their music ma! be technicall! fine# but there is no content or communication hel"
in it.
0ere + am
n"ivi"ualit! goes a long wa! in music. A great musician has the $ower to $lace themselves insi"e
their music so "ee$l! that even the sim$lest $iece of music is s$ellbin"ing. A musician who lacks
in"ivi"ualit! fin"s himself in a situation where he nee"s gimmicks an" tricks to kee$ his au"ience
entertaine". The! nee" to cover u$ for the lack of honest! in their music# an" to come u$ with more
an" more stuff( to make an im$ression. A great musician can grab $eo$le b! their heartstrings an"
sa! here am# an" this is what it(s like being me(. A showman can onl! scratch the surface of an
au"ience# but a great musician can "ive to the bottom of their souls.
Music is communication
What "oes the music !ou $la! sa! about !ou, What message "oes it give to other $eo$le, What
"oes it mean to !ou, To be a great musician !ou must embrace a musical truth% all music is
communication. t "oesn(t matter if !ou(re $la!ing to a sta"ium or to !ourself in the bathroom. *ou
are alwa!s s$eaking to !ourself# an" if !ou have an au"ience# to others as well. Like s$eech# it(s a
language# !et it(s ca$able of infinite subtlet! an" moo". /usic can communicate things which
wor"s alone cannot. To "ee$l! a$$reciate this is to han"le the elements of music like an alchemist.
*our music will have a truth in it% (this is who am# an" this is how e.$ress m!self(.
Music is movement
When !ou focus on an en" result% what shoul" ha$$en# !ou start to (go out( of !ourself. *ou are
literall! somewhere else. *ou(re not insi"e the music# so the communication of !ourself is
"iminishe". *our music will become flat an" lifeless. t looses that life an" energ! music has when
the $la!er is engaging with their music moment b! moment. An au"ience will alwa!s instinctivel!
feels when a musician is somewhere else# an" the! also know when a musician is insi"e his music.
Fee"ing bo(ed in
<ohn foun" it "ifficult being in the moment with his music. When he $erforme" he alwa!s ha"
overwhelming fears about his $la!ing. He ha" ver! concrete e.$ectations about what he shoul" be
"oing as a musician. The "eman"s $ut him un"er $ressure to $erform% he e.$ecte" himself to react a
certain wa!. He "escribe" being onstage as feeling (bo.e" in(. He felt so "ominate" b! his [Link]
to be $erfect that it left no room for him (to be with his music(.
Focus on the sensations
After talking with <ohn a while# gave him an [Link] to "o. <ohn nee"e" to focus on the
sensations of $la!ing rather than the turbulence of his min". tol" <ohn to $ractice being with his
sensations whenever he $la!e"# starting with when he $la!e" on his own# an" buil"ing u$ to when
he $erforme" in front of others.
$oftness and poetry
When <ohn came back# he tol" me he was shocke" at how often his min" took over( his $la!ing. At
first <ohn coul"n(t $ick u$ his instrument without a whole volle! of "eman"s an" e.$ectations
entering his min". t was a habit he(" reinforce" his whole life. As he carrie" on with the [Link] he
tol" me that this focus on his min" ha" $ut him out of touch with the sensations of $la!ing# which
he was now beginning to "iscover again. He began to realise that his music has lost it(s softness an"
$oetr!# an" that his e.$ectations ha" ma"e his music har"er an" more calculating.
0onesty
Once he became more aware of his bo"! when $la!ing# his music became s$ontaneous an"
ins$iring. He still ha" [Link] about his $la!ing# but he -ust chose not to focus on them. +oon he
was (lost in his music(. He reacte" to his music in an honest an" natural wa!.
)utting up wa""s
When watching some musicians# it strikes me that the! tr! to (engineer( their emotions or reactions
to their music. On the surface it a$$ears the! are insi"e the music# but look un"er the surface an"
!ou fin" quite the o$$osite. The! are afrai" to be honest so the! hi"e behin" a $ersona of
emotionalit!. This stems from a fear that their real self is not enough for themselves or their
au"ience.
Fascinated by the 1ourney
&la!ing music is a $er$etual -ourne!# an" !ou never reall! reach a "estination. *ou have reali6ations
an" achievements# but once the! are reache" something else o$ens u$ before !ou. The great thing
about music is that there(s alwa!s more terrain to e.$lore. Great musicians are fascinate" b! their
-ourne!% the -ourne! of musical "iscover! is a reflection of our -ourne! of self "iscover!. Great
musicians never tire of their -ourne!# because the! en-o! the a"venture an" "iscover!. The! will
surel! have challenges# but their faith in the musical an" artistic $rocess will carr! them through.
Great musicians love the fact that on the -ourne! their music constantl! changes an" evolves.
Wanting to arrive
The ego min" wants our music to arrive somewhere. t(s not intereste" in the -ourne!# all it(s
intereste" in sa!ing is% (m here now an" !ou can(t take that awa! from me=( Once the! get
somewhere# the! can sit back. The! "on(t nee" to $ush an" challenge themselves to move forwar".
$haping you music
f !ou loose interest in the "a! to "a! e.$loration of !our music# !ou miss out on so much musical
beaut!. t(s in being with !our "ail! $rogress that !ou reall! see what music means to !ou# wh! it
matters in !our life. t(s in constant e.$loration that !ou form a musical i"entit!# an i"entit! which
sha$es the music !ou create. The more we know about ourselves musicall!# the more confi"ent we
become at o$ening ourselves u$ when we $la! music. t(s in the fascination of !our musical -ourne!
that !ou la! the see"s for becoming a great musician. A "e$th of musical awareness is the hallmark
of a great musician.
)"aying inside the music
Letting go of e.$ectations gives !ou the free"om to react to !our $la!ing in a s$ontaneous an" free2
flowing wa!. Tr! this [Link] to sto$ !our e.$ectations an" $reconce$tions from rushing into !our
min" when !ou $la!. 0hoose a $iece of music !ou reall! en-o! $la!ing. Avoi" something too
"eman"ing# or an!thing !ou feel !ou shoul"( be $racticing.
0onesty shines through
&ick u$ !our instrument an" $la!. >ow !ou a$$roach !our music with fresh ears. *ou(re a""ressing
how !ou reall! are# whilst !our ego "eman"s an" e.$ectations fin" it har"er to sta! alive.
?emember it(s !our ego that makes music boring# restrictive an" re$etitive. Honest! makes it
infinite an" limitless.
+nto the mystic
When !ou $la! with no e.$ectations# there(s no $lace in !our min" !ou nee" to go. *ou(re there
alrea"!# $la!ing music# e.$ressing !our life with its love# -o!# fear an" creativit!. t feels like
$la!ing music for the first time. Time stan"s still an" realit! fa"es awa! as the music takes over. Tr!
to make !our music m!stical# romantic# like a "ream. The $oint is never to make $erfect music# the
$oint is to loose !ourself in the music.
0ear what your body te""s you
<ames ha" been $la!ing guitar for !ears. He ha" $la!e" since he was a little ki"# $la!ing in ban"s
his whole life. &la!ing guitar was a big $art of his life. As a chil" he ha" foun" it to be quite $ainful
on his han"s an" fingers# but <ames was "e"icate" to the guitar# an" $la!e" through( the $ain. He
-ust thought that is what !ou ha" to "o to become goo". 9ver!one else has gone through it# an" so
must he. <ames woul" $la! for hours on en" without a break. As <ames grew ol"er he began to
e.$erience stabbing $ains in his fingers an" han"s. +ometimes his han" sei6e" u$ com$letel!# an"
he woul" be force" to sto$ $la!ing. 9ven though he foun" this alarming# he carrie" on $la!ing in his
usual wa!% it was -ust something to get through(.
Trying to push through
As the !ears $ast it became har"er an" har"er for him to $la!# but <ames res$onse was alwa!s to
ignore it. Then one "a! he foun" it im$ossible to $la!. He went to a "octor# who sai" he ha"
"evelo$e" Ten"onitis. He was shocke"# an" instantl! wante" to know how to solve the $roblem. He
wante" to swee$ his $roblem asi"e# an" then go back to his ol" habits. <ames bo"! however# ha"
other i"eas. When <ames came to me# he was still looking for a quick fi. solution. e.$laine" that
he ha" "evelo$e" Ten"onitis because he routinel! ignore" his bo"ies( signals to sto$ $la!ing an"
rest his muscles. nstea" he "i" the o$$osite an" a$$lie" more effort to $ush through(. <ames was
shocke" at this news. He thought that Ten"onitis was one of those things that -ust ha$$ens when
!ou have $la!e" a long time.
Trying to tame the beast
When we a$$roach learning to $la! an instrument# it is eas! to see it as a beast to be controlle". We
believe we must a$$l! effort an" strong forces to tame the beast. The instrument is to be conquere"#
an" then we will have control over our $la!ing. When we a$$roach music like this# we become har"
in our bo"!. Our muscles tighten% we want to be a soli" controllable bo"!. /ore than this# we turn
off the messages we get from our bo"!. The tensions an" aches. These are hints of how we coul"
correct our $la!ing# how it can be ma"e more effortless. *et when we ignore the bo"ies( reaction to
$la!ing we are essentiall! sa!ing "o this an" "on(t com$lain( to our bo"!. After a while# !our bo"!
will begin to shout lou"er at !ou in the form of in-uries an" $ermanent $ains. Listen to !our bo"!
when it whis$ers to !ou# otherwise !ou will have to "eal with its shouting further "own the roa".
Lines of communication
Aim to constantl! strengthen !our communication between !our min" an" bo"! whilst $la!ing. n
that link !ou will fin" all the answers nee"e" to fin" !our groove an" become a great musician.
*our bo"! is !our greatest teacher# because onl! !ou know what !ou nee" to "o to allow !our
$la!ing to flow. 1ocus !our awareness insi"e !our bo"! whilst !ou $la!. f !ou(re a singer focus
into !our lungs# mouth an" hea". f !ou $la! a string instrument# concentrate on !our han"s# fingers
an" arms. f !ou $la! a win" instrument# focus on !our lungs an" li$s. 0hoose something sim$le
an" un"eman"ing to $la!# -ust a cou$le of chor"s or a few notes will "o. Before !ou begin to $la!
focus !our attention on the bo"! areas that will $la! music in a secon". Tr! to $ut the sensations
into wor"s like hot# tingl!# [Link]"# hot or col". Or !ou might want to "escribe it as a colour# such as
gol" or trans$arent# or a [Link] such as "ense# heav! or flui". Go into as much "etail as $ossible.
Write all !our observations "own un"er the hea"ing before $la!ing(.
wareness in music is everything
>ow begin to $la! !our notes@ chor"s# focusing !our attention in the bo"!. Be aware of an! new
sensations# but continue $la!ing. Also notice an! $ain sensations. After a few minutes# sto$ $la!ing.
Write "own an! new observations un"er the hea"ing "uring $la!ing(. >otice an! similarities or
"ifferences in the two lists. This [Link] is ver! revealing# because we often generali6e our $la!ing%
we "on(t reall! know what(s going on. This [Link] begins to uncover how our bo"! reacts to
$la!ing music. Once we realise what(s ha$$ening we can move on to $la!ing more effortlessl!# an"
sli$ into the groove more often. Without this awareness we can "elu"e ourselves that ever!thing is
fine with our $la!ing# !et then won"er wh! our $la!ing abilit! "oes not $rogress or "ee$en.
&our imagination
*our imagination is a great tool to becoming a great musician. /o6art use" it. He imagine" a great
king"om# an" he wrote his music for the sub-ects of his king"om. Aisualisation 'using !our
imagination) can soften the e"ges of !our musical e.$eriences(# make them seen less har"# less ego
"ominate". Aisualisation scenarios can be "evelo$e" for $racticing# -amming# song2writing or
$erforming.
)"aying by the sea?
Let(s take a sim$le visualisation: imagine that when !ou $la! !ou are sitting in an ama6ingl!
ins$iring $lace# $erha$s b! a beach# or in a lush forest, How about sitting on a $orch in "ee$2south
Airginia as the rain $ours "own. Or even in a sta"ium in front of thousan"s of fans screaming
*O8? name= 0reative visualisation is reall! -ust another name for having a fertile imagination. *et
visualisation is ver! real to !our bo"!. When !ou vivi"l! imagine being somewhere else# !our bo"!
believes !ou(re reall! there. This then has an im$act on !our music. f !ou visualise being in rela.e"
surroun"ings# !our bo"! [Link] an" !our music becomes calmer# o$en# ins$ire". f !ou imagine
!ourself at a gig# !our $la!ing ma! become focuse" an" shar$ as if it(s reall! ha$$ening. 0reative
visualisation allows !ou to be something !ou are not# to ste$ outsi"e the limitations an" fears of !ou
ego min".
2ehearse in your mind
*ou can visualise !our $la!ing before !ou actuall! $la!: imagine in !our min" letting go into the
flow of music# $la!ing flui"l! an" s$ontaneousl!. Hear how unique an" ins$iring !our music
soun"s. magine how goo" that feels: see in !our min" how others react to !our music. B!
visualising what will ha$$en !ou are rehearsing letting go# !et in !our min" !ou(ve alrea"! let go#
so when !ou come to $la! in realit!( !ou(ve alrea"! let go=
+f you can imagine it3 you're a"ready there
7uring !our $la!ing !ou can visualise !ourself being insi"e the music. magine all the notes of
music being $la!e" coming out of !our bo"!. Give them a colour# sha$e an" [Link] '!ou coul"
imagine them on a huge stave# comic st!le=). Aisualise the notes surroun"ing !ou# with !ou in the
centre of it all. +ee how the notes interact an" change the environment# the listeners# an" !ou.
Change your mind3 change yourse"f
*ou might think that imagining an" visualising things in !our min" won(t change !our music. *et in
!our min" changes are alrea"! ha$$ening. The visualisations will change how !ou feel in the
moment# $la!ing music. ?emember the ego min" will resist e.$loring with the imagination. The
ego will feel uncertain# because who knows what will ha$$en# how !ou(ll feel# what !our music will
soun" like. <ust ignore !our ego nagging. ?emember !ou can choose whether to act on its fears an"
insecurities.
&our ca"cu"ating mind
The more !ou visualise# the "ee$er !ou go into !ourself# an" the further awa! !ou move from !our
calculating min". 7evelo$ !our abilit! to visualise an" !ou(ll create a cushion between !ou an"
!our fears an" e.$ectations. The! ma! still be there# but the! won(t seem so close# an" !ou won(t
feel !ou(ll have to react to them b! tr!ing to control !our music.
F"e(ibi"ity
<oan was a $rofessional classical musician. 1or most of her life she ha" $la!e" in orchestras an"
smaller grou$s. +he ha" -ust lan"e" a role in a new "!namic orchestra. +he was $lease" with
herself# she ha" worke" "amn har" to get the -ob. <oan ha" a fi.e" routine for her $ractice: B hours a
"a!. Hours of $ractice a "a! is normal in the classical worl"# an" she ha" ke$t to the routine her
whole life.
Change is demanding
<oan foun" the new orchestra ver! "eman"ing. t was a big change from the $la!ing situations she
was use" to. The $hiloso$h! of the orchestra was to "o much more than concerts: the! ran
worksho$s# recor"e" for film# s$lit in smaller grou$s when nee"e". The member(s roles change"
from "a! to "a!. The new orchestra require" <oan to be [Link].
Living outside your comfort 4one
<oan $anicke": her regular routine was interru$te". +he ha" foun" herself com$letel! outsi"e of her
comfort 6one. All the time she was $la!ing besi"e new $eo$le# in new situations. Her ego min"
foun" it intolerable to be in situations where she "i" not feel in control.
To grow you need to "et go
When she aske" me for hel$# she sai" she felt out of control# unsure of herself. We also talke" about
wh! some of the members actuall! like" being out of their comfort 6one. $ointe" out to <oan that
these $eo$le "eci"e" to be comfortable going outsi"e of their comfort 6one. The! constantl!
[Link]"e" what the! were comfortable with# rather than re"ucing it. This kin" of musical growth(
was something <oan "i"n(t think she nee"e"# until now. <oan nee"e" to acce$t that constant change
was a $art of music# a $art of her music.
Being comfortab"e outside your comfort 4one
<oan ha" two choices: either she trie" to sta! within her comfort 6one# fin" the orchestra intolerable
an" leave# or she coul" begin to live with the realit! that she can(t control her musical worl". +he
ha" to learn to consciousl! e.$an" her comfort 6one# han"le more situations# an" become more
intimate with her music.
Change and cha""enges
When she contacte" me again# <oan sai" that although she sometimes foun" that she coul"n(t co$e
with the lack of control# she foun" overall that she was more at ease with the change an" challenges
in the orchestra. +he foun" she was more rela.e"# less serious. /ore im$ortantl! she foun" the new
challenges gave her music s$ark an" life that it ha"n(t ha" for !ears.
What is natura" ta"ent?
The i"ea of natural talent has sto$$e" man! $eo$le from even tr!ing to $la! music. >atural talent(
lets $eo$le of hook: wh! shoul" the! risk learning something new when the! coul" fin" out the!
have no natural talent, The! com$are themselves to others who $la!: the! alrea"! have
e.$ectations an" the! haven(t even starte" $la!ing=
We a"" start from the same p"ace
t(s not that natural talent "oesn(t [Link]# but to call it that is mislea"ing. t im$lies that it is something
that is given at birth. >ot so: natural talent shoul" be calle" natural learning. &eo$le who seem to
have natural talent are -ust learning ver! quickl!# therefore it seems like that musical abilit! was
alrea"! there. After all the! starte" from the same $lace an!bo"! starts: not being able to $la!. The
"ifference is that the! let go into the learning $rocess. The! get out of the wa! of their min" an"
bo"!# an" let their unconscious "o the work. When !ou control !our learning !ou(re bringing !our
conscious min" into $la!# slowing "own !our abilit! to absorb new information# an" use !our bo"!
ergonomicall!. *et when !ou let go !ou o$en !our unconscious to learning far more# far more
quickl!.
#reat "earners
+o to have natural talent( !ou have to be a great learner# an" that means letting go rather than
controlling. Great learners are fascinate" b! the -ourne!# ignore an! e.$ectations or "eman"s the!
$ut on themselves. &eo$le call it natural talent because the! "on(t want to see that their struggle has
been for nothing: that there is another wa!# an" that it works better.
+s that it?
+o to be a great musician# all !ou have to "o is let go of !our e.$ectations# $ut in the time# an"
ever!thing else will work out. Well !es that is all !ou have to "o# but if it was that eas! ever!bo"!
woul" have "one it !ears ago. t takes time to learn new habits# an" it often takes uncertaint! an"
"oubt to get to the $oint where !ou can let go. The $ath of a great musician is alwa!s challenging
an" "eman"ing: !ou can(t feel secure an" $ush the envelo$e at the same time. 0hange ha$$ens
gra"uall!: it(s a lifetime(s -ourne!# not something to be forgotten once learnt. But being a great
musician means making great music: music that(s "!namic# interesting# an" un$re"ictable.
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