•  Q & A - Performance Level
• Appreciating The Principles  

Hi Jamie,

Like some of your correspondents, I have a demanding day job. I actually have the option to become a young pensioner in the next few years, and am considering returning full-time to music and writing. In the meantime, it is a challenge to use my time wisely, and advance myself artistically. I note that in your Guitar Practice Organization example, if one were to translate it into percentage terms, it comes out Technique 20%, Music Skills 17%, Repertoire 33%, and Review 20%. The elements I think are fantastic...very thoughtful and well justified, especially your remarks on Repertoire.

My question is, do you regard this breakdown as a "baseline" model from which adjustments would be made---for example, if you have some restaurant gigs coming up, you might want to increase the Review portion so you can function on the job, etc.--but you would normally return to this allocation? What are your thoughts on this?

Very best wishes, yours in music,

Chuck R


Hi Chuck,

Yes, you are right. The allocation of time that I prescribed in my essay "Practice Organization" is to be seen, as you so well put it, as a "baseline", to be departed from and modified as one's present situation demands. A few examples:

**When I am in between concerts, with no performance (or recording) demands coming up, I will probably spend more time on technically oriented practice sessions. This is because the break in performing gives me the luxury of experimenting with technical issues, which will result in Vertical Growth in my playing.

**When I was in my early stages of development as a musician, I spent a LOT of time on Music Skills, studying various aspects of theory (harmony, form, arranging, composition, etc.). Now, I don't spend so much time because I know it already! Most students fall into the category on NOT knowing it yet. How much time you actually spend depends on your goals, and how badly you want to reach them. At a minimum, I begin all students early on with at least reading music, and learning the basics of harmony, as much as is required to understand basic chord use derived from the major scale system.

**If I have a concert coming up, of course I must spend a lot of time on Repertoire, namely the repertoire to be played! With no performances scheduled, I will let my emotional need to play music dictate how much time I spend on repertoire.

At any given time, I feel I must be able to sit down and play SOMETHING, because otherwise, what am I doing this for? So I will at my own pace, learn new pieces, and play them for awhile, maybe weeks or months. The focus here will be on my own musical satisfaction, not thinking of what an audience would like to hear. A lot of Review will take place here to, as I go back to old things for a fresh look.

I want to make another point here too, one which I have made often in my essays. Needing to perform a piece places a demand upon us to bring the song or piece up to what is called "performance level". Now, we can understand this term "performance level" in a few different ways. The first way, which has some drawbacks, is to think of it as a state of "perfection" that we bring the music to. The problem is that we will NEVER reach this imagined state (we will often compare it to some recording we heard), so, since we will never feel secure in reaching this perfected state, we will never actually perform the music.

Performance level should be looked upon as a level of proficiency in playing the music that allows a satisfying musical experience to be enjoyed, both by player, and by listener. This, of course, is a very subjective standard, and that is valid, because any Art, by definition, carries a strong subjective aspect to it. But we also need some objective standards to apply.

The first one is Rhythm and Tempo. We must be able to play the notes in Rhythm, and to a Tempo If there is a breakdown of continuity in terms of Rhythm and Tempo, there is no music. If you have established this continuity of movement and sound in any particular piece of music, you can then invest that music with your own emotion and artistic spirit. This is done by "playing it" over a period of time, and should involve memorization. This is where you get to know the music, and become "one" with it, the same way you would get to know a person by spending time with them. After all this, you are ready to "perform" the music.

It needs to be understood that when you "perform" the music, you also "transform" the music. It grows, and you grow, in a way that you would otherwise not grow, if you did not perform it. When we MEET the demand that performing music places upon us, we achieve the maximum growth that is possible for us.

And that is the point I wanted to make in reaction to your question and analysis of the allocation of time to various aspects of practice. We need always to in some fashion be meeting the demands of "performance" of music, in order to be the best we can be. Meeting that demand will impose upon the structure of our practice a NATURAL kind of order and intelligence, because we have a goal that unifies that entire process of practicing an instrument.

This is why, when I don't have any concerts coming up (which has been more often since spending my time on my website) I create "artificial" demands for the kind of practice that leads to "performance level"; for example, placing the mp3 recently on my site of the Allemande by John Dowland. It forces me to bring a piece to a musical "conclusion". This should be a part of any serious musicians approach, whether you play Folk, Rock, Classical, or none of the above!

Appreciating The Principles

I Love Intelligent People! I am always pleasantly surprised by the many intelligent, thoughtful responses I get from book users. I especially appreciate responses and analysis of my work from players who have been around the block a few times, and can compare my teachings with other approaches. Here is an interesting one:

Jamie--

I received your book last week and have already read it from cover to cover. As previously mentioned, I am an advanced player who works out of the improvisational country bag, drawing on jazz and blues, like Willie Nelson, and using a combination of classical and Chet Atkins type technique.

Congratulations on your work. You have pursued something very deeply, and brought up treasures. I tried your advice on the barre right away, and am experimenting intensively with the heavy arm and Light & Firm Fingers. I have really gone to school with my playing posture and recommitted to using a stool--why do we abuse ourselves, just to look "cool"?!?!?

It blew my mind to consider that when we teach a beginner in the first (or "open" position, I guess it depends on your school what you call it), we are calling in the maximum gravitational forces into an already stressful maneuver... I haven't taught for a few years now, but I had long since started folks out with songs in the key of D major just to get them rolling, but the sheer biomechanical challenge is something very few of the "travel brochure teachers", even the well-intentioned ones, really appreciate.

I know my teachers--and I was blessed with a few very good ones--simply assumed that a motivated, hard-working player would get strong and flexible, and by being strong, would learn to be "light". The embeddedness of muscular tension, the practicing and reinforcement of tension, was just never considered. I have great respect for Alexander Technique, but I believe that even good Alexander practitioners, who go about relieving damage that musicians do to themselves, do not address the critical issue that you have: what, how, and with what quality of awareness & intention do you practice?

Sad But True: Last week, after introducing my new Teacher Directory, I vented a little about my anger over the attitudes of some (perhaps many) guitar teachers. As you know, part of my work is to alert the unsuspecting student to LOOK for certain qualities in their teacher, certain GOOD ones, and certain BAD ones.

Well, after writing that, I got this letter: (I am concealing the name of the writer and the "bad" teacher he experienced.) Notice how the writer was able to sense he was in a non-supportive environment, and got himself out of it, and started making progress. To those of you who wonder WHY I put up the hot-tempered dispute between myself and Bill, well, this is why:

Jamie, unfortunately, I understand what your saying about (quote)"teachers" with an attitude. In the spring of this year, I started taken guitar lessons from XXX, of **NY. Mr. XX is a well known local teacher who portrays so precisely the attitude you describe. After several (6) half hour I felt insecure, talent-less and very frustrated.

Fortunately I caught on quickly and changed to another guitar teacher and have increased steadily my playing skills ever since. I once played several horn instruments and the flute & knew I could play the guitar. Others,like young children, or teenagers or non musical adults may not be so aware.

I would not recommend Mr. XX be included on your teacher list & this is why I wrote to you. Without question Mr. XX is an excellent guitarist & I do respect his playing skills. But his arrogant style of "teaching" left me cold, with the feeling's of musical & guitar ineptness. Your words speak precisely to the attitude that so distressed me. You speak the words as if you knew the man.

"There are many teachers out there who have a "hidden" attitude that they have something special you don't have. These teachers will be VERY nice to you, as long as you remember your place." [ Quote from "The Principles of Practice Vol. 18 Nov. 5, 2000]

I offer to you my personal feelings concerning Mr. XX's teaching style, to you, without malice or contempt in any manner.

John

Dear Jamie...

I ordered "The Principles" a few weeks ago from Durban, South Africa. I have been playing for a number of years, and often complained to my friends about neck strains and shoulder pains after an evening of guitar playing or practice. My horizontal growth was great, but I never realized how badly I was playing very good songs.

I ordered "The Principles" because I liked what I read in the newsletters....I felt there must be more to playing and practicing than just sitting down and playing a few notes. So I started practicing, using the ideas and concepts you demonstrate in the book.

What I have found is that your book should not only be seen as a method of practice. It should be more than that. "The Principles" should become a good habit. and a way of life! Since I have been faithfully employing "The Principles", my playing has leapfrogged forward and upward.

I feel as if I am finally able to unlock the potential I always believed I've had, and hence I am extremely happy and pleased with my progress. I now have more confidence when I pick up the guitar, and even if I struggle with a particular piece, I have the confidence that I will be able to play it, and play it well.

I find myself calling people to come and listen and enjoy what I am doing. It's what playing the guitar is all about.

I cannot thank you enough, and I am actively advertising your book here in my area.

Best regards

Johann

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