Posts Tagged practicing

How to Play and Sing at the Same Time

 

Playing and singing at the same time is usually a challenge for the beginner, and sometimes the professional as well! The secret is Rhythmic Independence. When you know how to develop this, singing and playing at the same time becomes doable; and the better your rhythm is, the easier it will be.

Each instrument has its own type of learning curve, but the procedure I lay out below is the method to follow. Once you get used to this procedure you can learn to sing and play almost anything! Really. However, as I stated above: the better your rhythm is the easier it will be, and the poorer your rhythm is the more difficult it will be. If your rhythm isn’t good you’ll just have to work a little longer on the procedure.>

Make sure that each step is easy before going on to the next. If Step #1 and Step #2 aren’t easy, Step #3 could be impossible. If a step becomes too difficult just go back to the early steps and work on those. That’s the secret to this: if something is too difficult go back to an earlier step. You should also use a metronome. You can do it without one, but it’s best to use one. There are many online metronomes if you don’t have one.

 

Fundamental Independence Drill

1. Play the instrument part evenly while counting aloud, i.e., 1 & 2 & 3 & 4 &, or whatever the count of the song is. Get used to deliberately placing your rhythms in time. (The steady flow of beats.) Don’t add the vocal yet. If the instrument part is tricky or difficult, play a simpler one. Align what you are playing to the count. If you can’t count while playing, at least get a feel for the exact placement of your instrument part to the flow of beats.

2. Speak the lyrics of the song in time. Deliberately place the rhythm of each syllable in time. Be as exact as possible, and exaggerating the rhythmic placement is very helpful. Make each syllable short and precise. You might feel a little silly doing this, but you need to develop rhythmic precision and this is the way to do it. (If this is difficult you could use some private instruction with rhythm.) Quite often, the rhythm of the melody “floats” a bit and is not strictly in tempo. If this is the case, I suggest varying the rhythm a bit so it’s easier to understand and duplicate.

3. Begin to combine the speaking-vocal and the accompaniment—VERY SLOWLY. Unless the song you are working on comes quickly, you MUST GO SLOWLY. I’ll repeat that: YOU MUST GO SLOWLY. I’ll repeat that again: YOU MUST GO SLOWLY. The only way to really nail something is to go slow enough to coordinate the rhythmic placement of all the elements. GO SLOW!

Independence is a skill that needs to be developed. To gain control over physical motions, you need to go at a speed at which you can actually DO what you need to do. And until you gain control over each specific placement of each vocal sound and instrument motion you have to go slowly. I repeat over and over because THIS IS THE REASON WHY PEOPLE HAVE DIFFICULTY DEVELOPING INDEPENDENCE, AND PLAYING AND SINGING AT THE SAME TIME.

Imagine driving around a corner too fast… you can screech and crash. Why? You lose control. Imagine running down steep steps too fast… you can trip and fall. Why? You lose control.

Think of something you can do well with your body. Take a minute and look this over. Now, why can you do that well? It’s most likely because you have control over whatever it is. You can only develop increased rhythmic ability by practicing something at a speed at which you can actually DO what it is you want to do. There is no way around that.

I stress this point because this is the hardest thing for a beginner or a novice to accept. A pro has learned that this is the ONLY way to go.

Enough said.

 

Marty B.
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Chord Technique on Guitar and Bass

 

Does it take you a long time to learn a new chord?

Do you want the secret to quickly learning new chord shapes?

Applying this write-up could dramatically speed your progress!

Contrary to common belief, fingering chords is a matter of control, not strength. While your first bar chords takes some strength development, control is what you need. And control is developed with slow and focused repetition.

Learning chords on a guitar or bass is simply a matter of muscle memory. According to a physical therapist student of mine, it can take up to 3,000 repetitions to establish the muscle memory of a specific motion. That’s a lot of repetitions! I’ve had students learn new chords in a shorter period of time as well, because they already knew many of them, or they had very coordinated hands. There is always a time variable, and nothing is absolute.

(I once had a beginning guitar student who learned every technique point perfectly the first time which was quite impressive. He was a slight-of-hand magician and could shuffle a deck of cards in each hand at the same time so his hand/finger dexterity was unbelievable. Wow!)

The following exercise is a technique for learning chords I’ve used for years that works like a charm. (If you are left-handed just reverse the instructions.)

Read the rest of this entry »

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Pablo Casals

 

Pablo Casals

 

Pablo Casals, at 95 years old, was answering questions one day. One of them went like this.

“Mr Casals, you’re the greatest cellist of the 20th Century, perhaps of all-time, and your career has been nothing short of spectacular. Why, at the age of 95, do you still practice 6 hours a day?

Casals answered, “Because I think I’m making progress.”

 


 

Pau Casals i Defilló (December 29, 1876 – October 22, 1973), known during his professional career as Pablo Casals was a Spanish cellist and conductor. He made many recordings throughout his career, of solo, chamber, and orchestral music, also as conductor, but Casals is perhaps best remembered for the recording of the Bach Cello Suites he made from 1936 to 1939.

Casals was an ardent supporter of the Spanish Republican government. After its defeat in 1939, Casals vowed not to return to Spain until democracy had been restored, although he did not live to see the end of the Franco dictatorial regime.

 


Thank you Dwight for emailing this quote to me a few years back.

 

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Control versus Force While Practicing Music

 

More often than not, my students practice too fast. I have an article about finding the “correct” speed in which to practice something, but here is an often missed point of view.

When you play too fast, you’ll end up using force instead of control. This defeats the whole purpose of practicing. Using force creates tension. Repeating something while using force creates tight muscles, which creates more tight muscles and then even more tight muscles. There are various “tension techniques,” but even then you need control and not force. You can learn certain things by using force, but that tends to take a long time and become a robotic-like motion rather than something totally under your control.

Check it out when you next practice something. Are you using control or force?

 

Marty B.
http://buttwinickmusic.com

 

 

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Guidelines for Practicing a Musical Instrument

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  1. Be there. Have your attention on what you are doing.
  2. Be willing to learn something. You cannot learn if you think you know it all already.
  3. Understand what you are practicing and why you are practicing it. Keep you personal goals in mind and aim for that result.
  4. Accept the fact that learning to play well doesn’t happen over night. Learning musical skills take time. You could learn certain small motions or ear training topics in a few minutes, but you need to invest enough hands-on repetition to develop stable skills. A beginner can take anywhere from twenty to seventy hours of practice to even begin to get the feel of things.
  5. Learn to relax your body when playing. Accumulated tension is one of the biggest causes of body problems, rough playing and a host of ills. There are about 120 muscles, bones and tendons in both forearms and hands, and all of these “parts” are learning new motor controls. While you are learning control you will get tense. It is natural to use force to do something until control is developed. Not being relaxed when you play is like driving a car with the brakes slightly depressed. The brake pads are going to wear out real fast and you’re in for a bumpy ride. Notice and release tension when you play. Tension can occur in any part of your body: hands, wrists, arms, neck, shoulders, lower back, face, mouth, legs, feet.
  6. Learn how to practice at the “right” speed. To play anything well you need to develop complete control over what you are doing. Control is developed by repetitive actions at the speed that you can actually do the thing you are suppose to be doing. If you go too fast you can’t “grab a hold” of whatever it is and it’s like screeching around a corner in a car while driving too fast in the mountains. Go too fast and you end up in the trees. (And if you ever got mad and frustrated while practicing I bet you were just going to fast!)
  7. Understand the words and symbols on any written materials you are using. (I was giving a kid a piano lesson recently and she almost fell asleep in the middle of her lesson, but was bright and awake when she walked in. I snooped around and discovered that there was one symbol in a song book that her dad got her that sent her under the table. I found the symbol, defined it for her and she instantly brightened up and came back to life.)
  8. Learn to sing in tune if you don’t already, regardless of the instrument you play. If you can’t, this is easier to learn then you might think. It’s almost impossible to fully enjoy playing music if your ears aren’t working, and the way to train your ears is to sing. I don’t mean singing as a vocalist but as a musician. This just means to be able to hit the right notes with your voice without any attention on how it sounds.
  9. Develop a good sense of rhythm. Having good rhythm is vital, probably the most vital aspect of being a musician. Good rhythm can be developed with the proper drills. If your sense of rhythm is really bad it could take some time; however, you CAN develop good rhythmic ability with efficient instruction and drilling.
  10. Realize that people progress at different speeds according to current skill levels, past experience and inherent ability. Only compare your self to yourself, and if you want to move faster than you are, fine tune your practice approach and put in more hours.
  11. Have fun. Music isn’t worth doing if you can’t have some fun while doing it. Not all studies are fun — many things aren’t. But there is always a way to make some part of what you are doing fun and rewarding.

Contact me if you would like some personal coaching in these areas!

Marty B.
(818) 242-7551

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Physical Tension Indicators

This is an brief expansion of the post “Technique Practice Changes Life Patterns.” I’ll be expanding this over the next month to be even more specific.

On Guitar/Bass:

  • Too much hand squeezing showing whites under the finger nails.
  • Left shoulder raised an inch or two. (The other shoulder for lefties.)
  • Mouth muscles are tight, lips are tight as well.
  • Harsh picking sound, not smooth. Commonly just holding the pick too tight. (Unless doing a tension/shredding technique, where it needs to be held tightly.)
  • Tight jaw.
  • Tight neck.
  • Lower back gets sore quickly.

On Piano/Keyboard:

  • A shoulder raises an inch or two.
  • Mouth muscles are tight, lips are tight as well.
  • Tight jaw.
  • Tight neck.
  • Lower back and/or shoulders get sore quickly.
  • Feet go up and are resting on the toes.
  • Hands are stiff therefore the sound is stiff.

And the remedy for any of these?

Notice and release tension while practicing!

And this is actually a skill that can be developed. (Read my “Guidelines for Practicing a Musical Instrument” for exactly how to do this!)

Very interesting.

Marty B.

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About Reading Music

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This post lays out some various gradients to reading music. A gradient, in learning, is a step-by-step approach starting with the easiest thing and progressing to more difficult levels.

Many musicians read music fluidly while others are either stumped by it all, are mildly confused or just don’t really know what’s it’s all about . I’ve been teaching people to read music for years and it’s actually not that difficult a subject. To read well takes a lot of practice, of course, but if approached correctly is a very understandable subject.

There is a hierarchy of things to learn. When you start with the easiest aspect of reading and proceed from there one can learn smoothly. A common difficulty students have is simply not drilling each level of skill long enough to get comfortable before advancing to the next level: too much too soon. When you learn things one step at a time and become proficient with each element before going on to the next element, learning to read well is quite doable.

One of the common difficulties people have isn’t the notes on the page but the notes on their instrument! In order to read well you need to first understand your instrument and, ideally, have a basic foundation about how music is put together. The most basic “theory” is simply knowing what the notes on the instrument are called. How could you read notes on the page and transfer that visual to playing those notes on the instrument without knowing what they are? Well, I’ve had many students who “had trouble reading” when they actually read just fine: they simply didn’t know their instrument well enough. So when they learned their instrument better, like magic they could read. It’s very interesting.

Another common difficulty is lacking basic musical skills such as being able to feel the rhythms they are looking at and playing. Ultimately one should look at a piece of music and hear and feel what one sees. There are many levels of this and the most fundamental skills needed to enjoy reading music can be readily learned with some good instruction.

This is a suggested order of things to learn to get your reading skills up to par:

1. Knowing the definitions of the words and symbols used.

2. Learning to navigate a piece of music. This consists of learning the symbols that tell you where to go. The most basic piece of music to learn to read is a “chord chart.” A “chart” is a slang term for any piece of music. A chord chart is simply a piece of music with only chord symbols and the form written on it. The “form” is the order of the sections, such as verse, chorus and bridge. There are no notes or rhythms written on the paper. To read a chord chart you need to understand what chords are. For example, a “C Chord” is made up of the single notes C, E and G. The chart will just have a C written on it and you need to know the rest. Learning chords is easier to learn then many think, and there are only three or four symbols to learn that tell you where to go on a chart. These symbols just tell you to repeat a section however many times or to jump from one part of the chart to another: like a driving direction telling you what street to go to and which way to turn. You can also take a piece of sheet music for a song and just read the chords without dealing with all of the notes and get use to that.

3. Understanding pitch notation. A “pitch,” for this example, is just a note. There are five lines and four spaces that big dots (note heads) go on that tell you what note to play. If you know the notes on your instrument it is easy to learn what note on the page means what note on the instrument, and the more you know about music the easier it is. When you can speak a word and know how it’s spelled you can easily recognize it on the written page: so it goes with music. When you can play a certain thing you can recognize it when you see it.

4. Understanding rhythm notation. Various lines, dots and shapes tell you when to play notes and for how long to hold them out.

5. Putting it all together on complete pieces of written music. Written music goes from easy to difficult, and learning to read just takes a step-by-step approach to putting it all together.

There are only 6 shapes that make up most of reading music: 6 shapes. That’s not too big a mountain to climb. Combine that with some fundamental instrument skills and musical abilities and you can learn to read music.

You don’t need to read music to play well; playing is playing and reading is reading.

But if you want to improve your reading or get started, start with the above steps, get a few lessons with someone who knows what they are doing and start the adventure!

Marty B.

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