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Practice,
Practice, Practice! As trumpet players, the necessary activity of practicing allows an individual to “train his/her brain” to perform a particular task successfully. Obviously, the definition of a successful performance is individually determined. However, there is no question that the methodology of procedure in the practice room can greatly affect one’s success in the concert hall. A daily practice regimen should consist of multiple sessions throughout the day. I have found that several concentrated sessions have generated more positive results than one massive period of practice. As a result, the incorporation of three practice sessions, during a typical day, has benefited me greatly. The first session, ideally, occurs in the morning and comprises a warm-up period. The focus during this time is to promote and solidify the fundamentals of trumpet playing while preparing for daily musical activities. It is extremely important to focus on that task during this session. Just as some would argue that breakfast is the most important meal of the day, I would suggest that the daily “trumpet vitamins” administered in the warm-up session are just as crucial. It provides a foundation, both musically and technically, on which to build upon. In addition, use this session as a time, not only to play long tones and lyrical studies, but also to lightly cover a variety of technical aspects (i.e. articulation, slurs, flexibility, etc.). The second session or “the workout” session should follow a few hours after the warm-up. During this time, one should focus his/her efforts on specific technical issues (i.e. single/multiple tonguing, finger/lip flexibility, range, transposition, etc.). This is the time to dissect personal problem areas in other music. For example, if the double tonguing sections in Scheherazade are troubling, pick an etude requiring double tonguing. Or, if the transposition in Carmen is troublesome, practice transposing lyric studies in A until you become more fluent. The whole idea is to improve one’s performance skills. This is achieved by taking specific sections that are posing difficulties and applying them to other exercises. The benefits of the second session are endless. By identifying specific areas, technical problems become more digestible. Similarly, one becomes more efficient in the practice room as a result. Many of the technical problems that arise can be resolved in three steps. First, identify the problem section. Second, slow down the problem area to a tempo in which the section can be played correctly. Third, recycle the section while incrementally increasing the speed back to the performance tempo. I have found that many of my students are amazed at how fast a technical issue can be resolved just by applying this method. Remember, almost all technical issues are not “hard,” they are just “unfamiliar!” Occurring several hours after “the workout,” the last session enables one to build endurance while working on music in its entirety. In most situations, it is only during this time that I play through an entire solo, etude, excerpt, etc. This is the time to apply the tasks practiced in the workout session. For example, one might practice the entire Carmen excerpt(s) after focusing on just the transposition aspect of the excerpt earlier that day. Or, it might be advantageous to practice some improvisation or continue work on a transcription of a favorite jazz solo. The third session should cater to the future engagements for which one is preparing. This session may also be a time to play some duets with a friend or record a piece that one is planning to play on his/her upcoming recital. However, be cautious of smearing the line between running a piece in its entirety and being a “practice room performer.” We have all heard trumpeters who habitually practice only the material on which they sound marvelous. Obviously, it is wonderful to sound great in the practice room, but realize there is a point where it can become counterproductive. Finally, I will attempt to answer the question of duration. A common question asked by students is “how long should I practice?” The answer depends upon the person, but I would suggest not using prescribed length of time. Instead, shift the focus to stress quality of practice over the quantity of practice. It is crucial to have a plan before entering the practice room! One should know what he/she is going to practice and what he/she wants to accomplish before finishing. Set goals -- not only long-term, but daily practice objectives, as well. Practicing does not have to be a painful experience. Have fun! With a positive and dedicated attitude, one will reap the benefits of an efficient yet effective practice method. Similar to the variety of thoughts about certain types of equipment, practicing is personal in nature. Each player should do what works for himself/herself! I understand the reality that it is not necessarily pragmatic to practice in multiple sessions every day, however, I have found that this regimen has been extremely effective for my own playing. I hope that these thoughts will enable trumpet players to maximize their practice potential, thus maximizing their musical success! |
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