#1 Clean your horn.
No one really cares if your horn is shiny or not but if the inside is filled with gunk and your lunch from a month ago you're going to have a bad time, and so is your audience. That gunk blocks airflow, halts resonating vibrations, and can seriously corrode the interior of your instrument. Although giving your horn a bath with soap and warm water on a regular basis is always a good idea, it's not always enough. Once or twice a year you should have your instrument professionally cleaned and serviced. Most local music stores either do this in-house or they will deliver your instrument to someone who does.
Here are my favorite at-home cleaning products-
No one really cares if your horn is shiny or not but if the inside is filled with gunk and your lunch from a month ago you're going to have a bad time, and so is your audience. That gunk blocks airflow, halts resonating vibrations, and can seriously corrode the interior of your instrument. Although giving your horn a bath with soap and warm water on a regular basis is always a good idea, it's not always enough. Once or twice a year you should have your instrument professionally cleaned and serviced. Most local music stores either do this in-house or they will deliver your instrument to someone who does.
Here are my favorite at-home cleaning products-
#2 Breathe.
Although breathing is an endless topic for wind players I'll try to sum it up into what I believe to be the most useful points.
1. Breathe in time with whatever you are playing.
This point is especially important for entrances; if your air and body are moving in time before the first note it will be that much easier for your fingers and tongue to move right when they're supposed to.
1. The circular motion of breath.
This is not circular breathing, but you should imagine that your air is always flowing regardless of direction, speed, and volume. I like to use the image of a water wheel, just replace the water with the air you're using to play. It flows in and then immediately into the horn without hesitation. The human rib cage is small muscles between the bones that allow for expansion and retraction; if you fill your lungs and release the air with hesitation your body will automatically move the air for you. But, if you hesitate the energy is lost and you must work to move the air by pushing it out. This adds tension to the body and your sound and will ultimately hinder range and endurance.
Below are two really great tools for developing strong and effective breathing habits-
Although breathing is an endless topic for wind players I'll try to sum it up into what I believe to be the most useful points.
1. Breathe in time with whatever you are playing.
This point is especially important for entrances; if your air and body are moving in time before the first note it will be that much easier for your fingers and tongue to move right when they're supposed to.
1. The circular motion of breath.
This is not circular breathing, but you should imagine that your air is always flowing regardless of direction, speed, and volume. I like to use the image of a water wheel, just replace the water with the air you're using to play. It flows in and then immediately into the horn without hesitation. The human rib cage is small muscles between the bones that allow for expansion and retraction; if you fill your lungs and release the air with hesitation your body will automatically move the air for you. But, if you hesitate the energy is lost and you must work to move the air by pushing it out. This adds tension to the body and your sound and will ultimately hinder range and endurance.
Below are two really great tools for developing strong and effective breathing habits-
#3 Practice does not make perfect.
I'm sure everyone at some point in their life has heard the time-tested saying "Practice makes perfect." I can assuredly tell you that this saying is wrong. Practice does not make perfect. The reason being is that it is very easy to practice anything incorrectly, and thus learn it incorrectly.
On the other hand-
Perfect practice makes perfect.
Few things are as frustrating as having to relearn anything, so take the time to learn it correctly the first time. Here are a few steps to make sure that happens-
I'm sure everyone at some point in their life has heard the time-tested saying "Practice makes perfect." I can assuredly tell you that this saying is wrong. Practice does not make perfect. The reason being is that it is very easy to practice anything incorrectly, and thus learn it incorrectly.
On the other hand-
Perfect practice makes perfect.
Few things are as frustrating as having to relearn anything, so take the time to learn it correctly the first time. Here are a few steps to make sure that happens-
- Find a knowledgeable and experienced teacher. Even the musical greats throughout history regularly sought the help a teacher throughout their life. Also, if you plan to work with them regularly (as with a college professor) make sure you are able to have a good student-teacher relationship.
- Always follow their advice to the fullest, working through their assignments and suggestions half-heartedly will only cause problems for you and your teacher.
- Practice slowly, and be patient. IF you master every aspect of a skill or piece at a slow tempo you'll have much more success when attempting to use it in performance.
- Practice with a friend whom you trust. Getting immediate feedback from a friend or colleague is one of the fastest and most effective ways to improve. This goes double for someone that you can also see as a rival of sorts, someone who can help push your limits and drive you further towards your goals.
#4 Slow Practice = Fast Results.
A common line from students is that they can play their assignment at tempo but not at half tempo. I'm inclined to believe them but also know that they didn't take the time to practice slowly and it shows. The reason that one can play a piece or exercise at tempo but not slowly is that most of the details are thrown out the window: intonation, rhythm, articulation, etc. When practicing slowly you bring those aspects to the foreground and are much more accurately learned and developed. Combining slow practice with other practice strategies is easy and efficient, and can greatly save time and energy instead of struggling through whatever you're working on at tempo. For example: removing the pitches and solidifying the rhythmic accuracy. Or the opposite, removing the rhythm and strengthening the intonation between each individual pitch. This kind of practice can take a lot of patience and self-discipline for it to be effective but slow practice is definitely a time saver and energy saver in the long run.
The No. 1 required tool for practicing slowly is a metronome and you can take it a step further if you have a metronome/tuner combination. No matter how good you think your tempo and sense of rhythm are you will never be as accurate and steady at a metronome. My favorite and most recommended metronome/tuner is an app called Tonal Energy. It has every function that a student or professional might need. The app has excellent subdividing tools for rhythm, drones for intonation, video and sound recording functions, and you can use all these functions simultaneously.
A common line from students is that they can play their assignment at tempo but not at half tempo. I'm inclined to believe them but also know that they didn't take the time to practice slowly and it shows. The reason that one can play a piece or exercise at tempo but not slowly is that most of the details are thrown out the window: intonation, rhythm, articulation, etc. When practicing slowly you bring those aspects to the foreground and are much more accurately learned and developed. Combining slow practice with other practice strategies is easy and efficient, and can greatly save time and energy instead of struggling through whatever you're working on at tempo. For example: removing the pitches and solidifying the rhythmic accuracy. Or the opposite, removing the rhythm and strengthening the intonation between each individual pitch. This kind of practice can take a lot of patience and self-discipline for it to be effective but slow practice is definitely a time saver and energy saver in the long run.
The No. 1 required tool for practicing slowly is a metronome and you can take it a step further if you have a metronome/tuner combination. No matter how good you think your tempo and sense of rhythm are you will never be as accurate and steady at a metronome. My favorite and most recommended metronome/tuner is an app called Tonal Energy. It has every function that a student or professional might need. The app has excellent subdividing tools for rhythm, drones for intonation, video and sound recording functions, and you can use all these functions simultaneously.
#5 Time, Time, and Time.
1. Be on time.
Regardless of the obligation, you should always strive to arrive on time. Being late shows, among other things, a lack of your personal responsibility and respect towards everyone involved: colleagues, teachers, superiors, doctors, students, family, and friends. There are a few easy steps that everyone can take to prevent themselves from being late. First, aim to arrive at least 5 to 10 minutes early; if you have a problem with tardiness or have never been to your destination then double that amount. Next, Always know where you're going before you leave. That means check your GPS long before you leave, and double check weather and traffic conditions if you can; be prepared.
2. Breathe in time.
This goes for all musicians, not just wind players. This simple act sets you bodies internal time in motions and in sync with the music you're about to play. Next time you're at an orchestra concert pay close attention to the strings, you'll notice that they all breathe with the conductors preparatory beat. This action is just as important in the practice room as it is in performance. Here are some recommended steps one can take to develop this habit. First, always practice with a metronome to develop your internal time. Second, no matter the size conduct your entrance with your instrument. Finally, use your imagination to picture yourself or the conductor standing in front of you conducting every entrance you have. If you're having trouble with the final step place a mirror in your practice space so you can see yourself conducting with your instrument.
3. Play in time.
This may seem like common sense but it is the most common mistake that musicians make. Also, it's the easiest mistake that any kind of audience can perceive. The best way to do this is to develop the skill of subdivision, the ability to mentally subdivide the rhythms that you're playing to ensure that they're precise. There are several things anyone can do to develop this skill. First, always practice with a metronome. Second, if your metronome has a subdivision function always use it. If not you can do some simple math to give the same effect; if you're playing something where the quarter note tempo is 80pbm and you want to hear the eighth note subdivision just double the tempo to 160pbm and so forth to whatever you need. Finally, practice your music subdivided and do this until you can break everything down into the smallest units. These steps will help develop your internal metronome and ability to subconsciously subdivide as you play.
1. Be on time.
Regardless of the obligation, you should always strive to arrive on time. Being late shows, among other things, a lack of your personal responsibility and respect towards everyone involved: colleagues, teachers, superiors, doctors, students, family, and friends. There are a few easy steps that everyone can take to prevent themselves from being late. First, aim to arrive at least 5 to 10 minutes early; if you have a problem with tardiness or have never been to your destination then double that amount. Next, Always know where you're going before you leave. That means check your GPS long before you leave, and double check weather and traffic conditions if you can; be prepared.
2. Breathe in time.
This goes for all musicians, not just wind players. This simple act sets you bodies internal time in motions and in sync with the music you're about to play. Next time you're at an orchestra concert pay close attention to the strings, you'll notice that they all breathe with the conductors preparatory beat. This action is just as important in the practice room as it is in performance. Here are some recommended steps one can take to develop this habit. First, always practice with a metronome to develop your internal time. Second, no matter the size conduct your entrance with your instrument. Finally, use your imagination to picture yourself or the conductor standing in front of you conducting every entrance you have. If you're having trouble with the final step place a mirror in your practice space so you can see yourself conducting with your instrument.
3. Play in time.
This may seem like common sense but it is the most common mistake that musicians make. Also, it's the easiest mistake that any kind of audience can perceive. The best way to do this is to develop the skill of subdivision, the ability to mentally subdivide the rhythms that you're playing to ensure that they're precise. There are several things anyone can do to develop this skill. First, always practice with a metronome. Second, if your metronome has a subdivision function always use it. If not you can do some simple math to give the same effect; if you're playing something where the quarter note tempo is 80pbm and you want to hear the eighth note subdivision just double the tempo to 160pbm and so forth to whatever you need. Finally, practice your music subdivided and do this until you can break everything down into the smallest units. These steps will help develop your internal metronome and ability to subconsciously subdivide as you play.