Mindset: Success Begins Here

Here is one last post of 2020.  It's an important one as you think about your goals for 2021.

One of my revelations over recent years is how important it is to understand the difference between a growth mindset and a fixed mindset.  This year, it occurred to me that when it comes to friendships and relationships, I just don't connect to the fixed mindset.  Whether we're talking religion, politics, health, or music... If you don't have a growth mindset, then we're practically on different planets.  And if you want to succeed even a little on a musical instrument, you HAVE to have a growth mindset.

Okay, let me back up.  What is a growth mindset compared to a fixed mindset?

Someone with a growth mindset is always looking for self-improvement.  They are open to new and better ideas.  They are open to criticism and, especially, self-criticism.  This is not to say that accomplishments aren't fully celebrated along the way, but those are pit stops and not an ultimate destination.  When it comes to non-musical things such as personality, world views, and just about anything else...there is an eagerness to explore new ideas,  try new things, and understand that change is possible for anything or anyone.

Someone with a fixed mindset believes that they are the way they are, and it is what it is.  Opinions are absolutely right or absolutely wrong.  They don't try different foods.  They don't try a new routine.  Change is an ugly word.  When it comes to music, it either comes easy or it's not worth it.

How the two types react to practice

Someone with a fixed mindset will either not practice, or not practice with any depth or struggle, or gravitate towards only playing favorites or what comes easily.  The first sign of struggle with a piece will send the player into retreat.  Either the practice session is over, or out comes the easy music.  "It's hard!" is said as if it's a terminal diagnosis.

Someone with a growth mindset WANTS the challenge.  If it's comfortable, it's not giving you growth. The first sign of struggle with a piece will cause the player to pause and rethink what's possible in a sitting, to calmly look at why something is hard and what can be done about it.  "It's hard!" is said as if it's dessert.  This is good!  This is how I get better!

You're not stuck with being one or the other.

It's far more natural to have a fixed mindset than a growth mindset.  But switching to a growth mindset changes everything about your life!  To make the switch, all you have to do is get yourself to agree with this one statement: "I'm a long way from where I want to be, and that's okay."  There's two parts to that statement, and both are important.  "I'm a long way from where I want to be" is simply to say that you are NOT where you want to be now.  So don't keep playing the easy music, and don't keep bringing out the favorite past pieces to avoid the challenge of your current music.  "And that's okay" reminds you that it IS okay to struggle.  It is okay to have a long way to go.  Do you know what successful people do (in any field) when they reach their mountain top?  They find another higher mountain.  Think about it like this.  You're climbing the stairs of a 200-story skyscraper.  Each floor has a window with a view.  You can celebrate each floor, but at some point you have to resist thinking, "This is good enough.  I don't have to keep climbing those stairs."  Keep climbing.

Couple the growth mindset with intrinsic motivation (as I discussed in the previous post) and you WILL succeed in 2021.  It helps you focus on what matters, and that are your HABITS and your MENTAL DRIVE.  It's not about how many pieces you learn, or even what pieces they are.  The side effect is that by focusing on habits and mental drive, the results will be much better than they would be otherwise.

One last thing, and I promise you that you'll need this reminder at some point this year.

Growth mindset is forgiving.  You'll forget to practice, or feel bad about how things are going.  Remember the second part of the growth statement?  It's okay.  Breathe and regroup.  You will get frustrated, but remind yourself...it's okay.

If you want to read more about the growth mindset, I cannot recommend any book more than Mindset by Carol Dweck, which has an updated edition coming out on January 1.

Are you ready to do great work in 2021?

What's Your Motivation?

It's my first post in a while, but I will hopefully make up with it by giving you two new ones this week.  I think it's a safe bet to say that one of the best words to describe 2020 is "unexpected".  Thankfully, not all of it was negative!  Since my last blog post, I've had 4 film scores, 2 shows, and a bunch of other projects including starting a new podcast about musicians who play for theatre (called Life In the Pit).   I've even started a BIG project for hopefully mid-to-late 2021 related to teaching that I can't discuss yet, because it has a LONG way to go!  It may be 2022 before it's going, but all that to say... it's been tough to get around to blogging again.  Anyway, I can't promise to be very regular on here, but I will do my best going forward to not let a month go by without posting at least once.

As I mentioned, I am going to close out the year with 2 posts because I have some ideas I want to share about GOALS.  As we get ready for a new year, I can't think of a better week to think about goals.

Extrinsic vs Intrinsic Motivation

What motivates you?

Something I've become more aware of this year is the powerful difference in Extrinsic motivation vs Intrinsic.  In case those words are unfamiliar, this is what is meant.  EXTRINSIC goals means that you are motivated by something or someone.  If you're practicing because you get a reward such as a dessert, a fun outing, money, or anything else, that is extrinsic.  If you're learning music to impress someone, that is extrinsic.

INTRINSIC means that your motivation is internal.  You want to practice well, and achieve your goal because it's something you take pride in doing.  It's something that matters to you.  You're comparing your present self with your past self, and your future self with your present self.  It doesn't matter what you receive or don't receive from someone else.  It doesn't even matter if you get the approval you're looking for.

Which one is better?

If you're looking for a short-term boost, a quick win - then extrinsic is the way to go.  There's a story I've told for years.  When I was in high school, I was preparing for my annual performance for the National Guild of Piano Teachers.  What this involves is preparing a certain length program (10 pieces for me that year) where you receive a grade from an out-of-town teacher on everything from rhythm to accuracy, expression, use of pedal, technique, tempo, interpretation, and many other factors.  My last piano lesson revealed to my teacher that I was woefully unprepared for one of my pieces.  It was 3 days before my scheduled performance, and my teacher said, "We should drop this piece, and reduce your type of certificate.  There's no way you'll have this ready."

Well, my teacher had been with me for at least 10 years by that point, and knew me well.  By saying "there's no way", she knew how I'd respond - in anger and with a stubborn determination to prove her wrong.  I told her not to take it off the program.  I went home and practiced in a way that I don't think I ever had before, almost exclusively on that piece.  And it WAS ready!  And I DID prove her wrong!

So...Extrinsic is better??

Extrinsic is much easier, and is more powerful in the short term.  However...

Here's the problem.  That was great for 1 piece at 1 point in my life.  It didn't make me a better pianist.  It didn't make me a better musician.  It also wasn't good for me to see my piano teacher as a villain just to prepare a piece of music to a certain standard!

What happens when you're on your own as an adult, and nobody is going to give you that extra cash, or a trip to a theme park, or whatever it is for doing your job?  Who's going to pat you on the back for learning another piece of music to an excellent standard? 

If you must have a reward or appreciation from someone else to be motivated to do well at music, there WILL come a time when it doesn't matter, when you stop progressing, and when you just don't feel like it's worth it.  One of my biggest challenges for years has been to keep learning challenging pieces that I have no intention of performing in concert, but merely want to keep growing as a pianist.

If you haven't figured it out by now, learning music is a LONG game!  It's not about what you're doing next month, but what you're doing in 10 years.  That starts with doing well...today.  Then you do the best you can...tomorrow.  Your motivation?  Look yourself in the mirror and smile knowing that, even if it wasn't perfect, you gave the best you could on that particular day.  You measure yourself against yourself.  You can always go to YouTube and find someone who plays your music faster and maybe with fewer mistakes.  That's extrinsic comparison, and that's NOT your measuring stick.  "You Yesterday" is your comparison with "You Today".  "You Tomorrow" is your comparison with "You Today".

The difference between people who operate on extrinsic or intrinsic motivation boils down to one characteristic for each.

People who practice music for extrinsic reasons are motivated by RESULTS.  You learned the piece or you didn't.

People who practice music for intrinsic reasons are motivated by THE PROCESS.  Never mind the piece itself.  How did you do with practice today?  Were you fully engaged with your concentration, or were you distracted?  Did you practice just the right amount for your time that you got NOTICEABLY better on a few measures rather than sorta-kinda-barely better on a full page or 2?  Are you thinking about what you can improve the next day?  Are you always thinking of where you could be after practicing tomorrow?  After a week of practice?  After a month of practice?

My biggest idol in music is the film composer John Williams (who wrote the music for Star Wars, Harry Potter, Home Alone, and so much more).  He is a master if INTRINSIC motivation.  Even though he's won 5 Academy Awards and a ton of Grammys, and the most recognizable movie music in history, he doesn't even watch the movies when he's done.  He's always moving on to the next project.  He doesn't care what praise or criticism he receives, because he's just trying to do his best on the project he's doing at the moment and doing it maybe a little better than the previous one.  He's not jealous of other composers, because his only comparison is himself.

My challenge for all of you in 2021 is to have big goals, but your first goal is: Fall in love with the process of practice.  Become the best practicer you can each and every day.  And do it for the pride and love of doing it well!  It's not glamorous, and there's nothing for your wallet.  But it will last, and you will get better and better!

Last but not least:  It will make you a better person.  Your relationships and friendships will improve with an intrinsic approach, because it's no longer you just feeding off your environment.  It's you offering your best no matter how it's received.  It's you supporting others in their goals even if they're similar to yours, and maybe appear to be doing better.  Doing things intrinsically is a HARD switch to make, but try to get going that way in 2021, because the long-term results are so much better!

What's keeping you from being a GREAT pianist?

For the sake of simplification, we're going to say that there are 4 types of pianists in the world: Bad, Average, Good, and Great.  I understand that there are transitionary levels ("below average", "above average"), which do not need to be mentioned since these imply moving from bad to average or from average to good.  I also won't mention descriptions beyond great (such as elite) which represents a very small percentage of people who play piano, and honestly... If you're old enough to read this blog, and are reading about about how to improve your pianism, then you probably haven't started early and fast enough to become elite.  But don't be depressed.  Being merely a great pianist is not only nothing to cry about, but it is a laudable achievement that is something to strive for.

However, most pianists are not great.   Bad and average pianists probably make up way over half, maybe even 60% of all pianists in the world.  Of the remaining 40-50%, most of these pianists are good, with only a small percentage being great or elite.  Why is this the case?  For reasons you'll see, climbing up the ladder in pianist categories is hard.  This is very important before we go on.  It's crucial that you accept this fact before moving on with this article, because I'm going to make a big deal of it.

Being GREAT at piano is HARD!

Being GREAT at piano is HARD and takes A LOT of time!

Some of you might be thinking: Really? Okay.  I guess I won't be a great pianist if it's going to be really hard and take a lot of time.  I'll go be great at something else that isn't as hard.  So, let me go ahead and tell you this before you go away.

Being GREAT at ANYTHING is HARD and takes A LOT of time!

So if anything requires difficulty and time to be great, why not pursue that on the piano?  Let's proceed.

This article is about becoming GREAT, but we have to quickly talk about how to get from bad to good.

TO BE A BAD PIANIST

Simply play during your lessons, and hardly ever in between.  Practice, if it occurs, is unfocused.  Or...take a few lessons, and stop.  Don't practice at all.

TO BE AN AVERAGE PIANIST

Practice at least a few days per week with some focus.  Practice on new and challenging material doesn't have to be a high percentage of your piano time, but it needs to be something regular.  Do this consistently for at least a year or two, and you will be an average pianist.

TO BE A GOOD PIANIST

Practice needs to become a HABIT.  You need to shoot for daily time at the piano.  You need to be focusing practice on new and challenging skills and pieces.  You also need to be taking lessons, or have someone experienced who can give you feedback.  How much time should you be spending?  Honestly, it doesn't really matter.  Practice 15 minutes a day with focus, and you'll eventually be good, but it may take many years.  Practice several hours a day, and you'll get good faster.  But practice 8 hours a day with just what I said, and you'll never be great.  Sorry, but it's not enough, and that's because time and effort are only parts of what make someone great.

What's keeping you from being a GREAT pianist?

1. You're not GOOD yet.

This is a simple test.  Is practice a habit, a daily habit?  Are you focusing on new and challenging material?  Are you taking lessons, and applying feedback to your practice?  You have to do this to become good.  You don't go from bad to great or average to great without passing by "good".  Check your habits.  This is not requirement 101, but 099...something you must do before you can move on.

2. You place too much value on comfort and satisfaction.

As I said, practice 8 hours a day with the habits of a good pianist, and you won't be great...IF your material and technique doesn't stretch you to your limits.  A runner who isn't huffing and gasping every now and then knows they won't get faster.  A weight lifter who doesn't feel the soreness of muscle burn isn't getting much stronger.  As a musician, you must face the facts: Stretching yourself requires DISCOMFORT.  Practicing in a way to be great will not feed your ego.   If you want to be a good pianist with great self-esteem, then take that piece you learned last year that you already know and play it until it's fast and fulfilling.  Being a great pianist will not feed your ego.  The road to being great is chock-full of potholes.  It is constantly under construction.  There are detours.  You'll have times where you wish you could just go back to the land of good and stay there.  At the same time, the road to great does make progress, and you are getting closer if you persevere.  The next few points are related.

3. You waste time on easy sections, and ignore what is difficult.

Unless you're trying to jump many levels ahead, almost nothing you practice is totally hard.  It has easy measures and hard measures.  In most cases, it should be simple to figure out which is which.  The ego-driven good pianist practices what is easy every chance they can, because it's fun to hear the accomplishment and avoid the brain strain of what great pianists do:  Dive in, struggle, and wrestle with the difficult sections.  Commit a large portion of your practice to the hard places.  Tackle them first, and tackle them often.  If you have pesky measures, there's a huge advantage to doing 5-10 focused minutes of practice on the same spot multiple times a day.  Give yourself a break, but keep coming back.  Don't get mad or discouraged while it's hard.  You WILL win every match eventually if you simply don't give up.

4. Your music is too easy.

Here's an easy guide to the levels: To be average, play music that average pianists play.  To be good, play music that good pianists play.  To be great, play music that great pianists play.  Now this is tricky, because the road from Clementi's Sonatina op. 36, no. 1 to Beethoven's "Hammerklavier" Sonata (still regarded as one of the most difficult pieces ever written) has many, many steps in between.  Your music should always challenge you, but never overwhelm you.  You need to be practicing music that will advance you a few more miles down the Road to Greatness.   Practice easier music to stay in the land of good, but with more property. This is where a teacher is invaluable, to help you move forward at the pace that best suits you.

5. You ignore or underemphasize your technique.

 If you didn't already, please click on the link in the above section for Valentina Lisitsa performing the finale of the Hammerklavier Sonata.  To achieve the speed and independence required to play that requires many hundred to thousands of hours on specific scales and arpeggios, not to mention etudes and exercise that mix these together.  Here's a fact: The speed of your scales is the limit of how fast you can play music with those scales.  The same goes with arpeggios.  Learn your skills, then speed them up, then learn them in harder ways, and speed them up again.  This needs to be a regular part of your practice.

6. You neglect your theory.

I've met good musicians who don't know much about theory, but I've never met a great musician who was lacking.  Theory requires study, written study.  The more you know, the better you understand what you're playing. 

7. You haven't mastered the art of Deliberate Practice

This is the most important distinction between a great and good pianist.  A good pianist can work on something hard, but the goal might be: I'm going to start on measure 1 and play to measure 16 as many times as I can within 20 minutes.  The great pianist looks at the really tricky measure 12 (the one with the chromatic scale), and practices ONLY that for 15 minutes.  They practice it super slowly focusing on fingerings and absolute accuracy.  Then they apply long-short and short-long rhythms.  They also approach it from the end, moving progressively backwards from the beginning.  They notice that it's kinda chromatic, so they review a chromatic scale.   They then get out a metronome, and work on the tempo.  They'll also do this tomorrow and the next day and so on until it's mastered.

This blog was inspired by a book that talks about this 7th step, one that I highly recommend to those of all ages: "So Good They Can't Ignore You: Why Skills Trump Passion in the Quest for Work You Love" by Cal Newport

By the way, there is nothing wrong with being an average or good pianist.  If you enjoy the fun side of piano, but get burned out from the challenge, this is not something to find shameful or embarrassing.  Music should, in the end, give you joy and serve your needs.  This article is only if you're wondering: what's keeping me from being great?  And the answers are: only your time, your resistance to difficulty, and/or your approach to learning.   Master those steps, and you'll too be great!

Understanding the Reality of Trade-offs

I had time between lessons yesterday to walk over to the nearby mall and do some quick browsing.  I happened to walk past a gourmet cookie bakery.  I went in with the intention of just getting a simple modest chocolate cookie, but instead I got a giant cookie with lemon icing, a $2 cookie!  This photo isn't the very same cookie, but it's pretty close.

The first bite was GREAT!  Soft, sweet, lemony.  I started eating it the moment I walked out of the cookie store as I headed towards the other end of the mall.  I continued to eat as I walked.  By the time I had passed 5 stores, let's say 200 feet at the most, the thrill was GONE!  I was left with a few tremors and a feeling of guilt for shoving that whole thing in my mouth.  It was a matter of time before I felt a total lack of energy after the sugar crash set in.  Worst of all, the pleasure of the taste (the WHOLE reason I got it in the first place) was over!  With this experience in my memory, I could approach a cookie like that right now, and ask myself one question before buying it.

Is the 2-minutes of joy this cookie brings worth the hour or more of misery that will follow?

Well, that's an easy answer when I phrase it like that.  But when I want the easy craving at the time, I forget to step back and just ask: What's the trade-off here?  And is it worth it?

Wait! Isn't this a PIANO blog?  What does eating a giant cookie have to do with piano?

Bear with me.  I'll get there eventually.

Every decision...not nearly every decision, but EVERY decision in life comes with at least one trade-off.

You keep using that word "trade-off".  What do you mean?

A trade-off is also known as the flip side.  You can't do everything at once.  Making a choice to do something denies you that chance to do something else.  Back in the early days of TV, before streaming, before internet, before DVR, before VCR or other video recording, if you had time at 8pm to sit down to watch a television show, you had to choose which one to watch with the knowledge that you were not watching the other choices (at first, only 2, but later more).  Here are some more examples.

• Staying at home means you can't go to the beach.  Going to the beach means you can't just stay home.
• In NC, going to the mountains means you don't go to the beach (at least at the same time), and vice versa.

But those aren't great examples, because you're not making a hard choice in any case.  What about when there's a harder choice?  You have to address the decision in a way that lets you know the flipside and the consequences if any.  For example:

• I love the taste of sodas, and sometimes I just CRAVE one.  I also happen to know that soda-drinking is one of the biggest triggers for causing me to get canker sores in my mouth.  I almost never get them when I stay away from soda.  So, would I rather have the few minutes of sweet taste, or avoid the not-certain-but-more-likely days of pain that will follow?
• I like eating out.  I also need to save money, and don't particularly like taking time to pack a lunch.  What do I want more, the convenience of eating out or saving some money for something more meaningful?
• This video I'm watching is really interesting, but it's getting very late, and I have to get up early in the morning.  Is the enjoyment of the video worth the price of not getting much sleep?

You see where this is going?  Any decision has at least one trade-off if you take time to think about it.

SO, what are the trade-offs related to your choices regarding practicing your music?

• If you watch a television episode instead of practicing, you're making the decision that the entertainment and escapism is more important than the opportunity to get better at your instrument.  Is that true?
• If you play a video game instead of practicing, you're making the same choice.  Is your goal to be really good at video games, or really good at piano?
• Time at the piano spent just playing old favorites is time that you could be spending working on your more challenging new music.  You're choosing comfort over challenge.  It's a common choice, but the trade-off of comfort is to not make progress.
• If your time is diluted with such a variety of extracurricular activities other than music (martial arts, sports, church, drama, etc), you are accepting that you will most likely be acquainted with many experiences, but be less likely to get really good at any of them.  I'm not attacking this lifestyle.  It's certainly possible that you are okay with this.  For many people, knowing a little of everything is more important than being selectively focused on a very few things.  But have you at least considered this trade-off and decided if it's what you really want?

In summary: You can't do everything you want or even need.  Giving your time to one thing means not giving it to something else.  Striving for comfort denies yourself the struggle that makes you better.  Sometimes, you may want to dial it down and enjoy that video game or TV show because the pleasure is worth missing the chance to improve at piano, at least for that one day every now and then.  Sometimes you need the satisfaction of affirming your favorite pieces you've already learned more than learning something new.  But I challenge you to at least BE aware of it.  You can do just about anything you want, as long as you recognize what it is you're giving up in exchange, and are convinced that you've made the best choice.

Improve Practice by Being Specific

Recently, I read the 1937 classic book, Think and Grow Rich, by Napoleon Hill.  If you've never read this, its title is deceptive.  It doesn't offer schemes to increase your bank account.  Instead, it talks about cultivated the mind-set that leads to success, which may happen to include but doesn't necessarily limit itself to monetary wealth.

A big part of his philosophy stresses the importance of establishing a DEFINITE GOAL.

Definite Goals come in long-term and short-term.  I won't elaborate further on the book, but I want to talk about you and your music goals.  It is very effective to use definite goals as a pianist.

Long term:  What kind of pianist do you want to be?  Re-read the blog post I wrote to review which type of pianist you should be shooting for.

Short term: (and this was what I wanted to focus on) - what are you going to accomplish in practice this week?

Examples:
INDEFINITE goal:  "I'm going to practice a little bit each day as time permits.  I'll try to go through all my assignments and see what happens."

DEFINITE goal:  "I'm going to double the tempo of my C and G major scales.  I'm going to study my note recognition on musictheory.net and get 100 correct answers in 3 minutes.  I'm going to complete my theory assignment.  I will thoroughly master a 16-measure passage in my repertoire to the point where there is hardly anything else to accomplish."

See the difference?  The indefinite goal gives you no clarity.  There's also no accountability.  You could accomplish nothing at all, and be emotionally okay with it.  In the definite goal, you have a target.

What next after you establish a definite goal?
Now you look at your week, your schedule, your current knowledge of how long it takes you to learn music, and determine how much you need to practice.  After you gain some experience, it's good to work this step in harmony with your weekly goal.  Choose a weekly goal that you can actually meet.  At the same time, challenge yourself to accomplish as much as you can.

If you don't meet your goal...
...then don't fret about it.  Setting goals is a work in progress, and merely a tool.  If you don't accomplish something, look at what you did accomplish and where you fell short in your goals.  Look at WHY you fell short.  Can you improve the way you practice?  Can you spend more time in practice?  Are you focused and in full concentration?  Answer these questions and adjust, if necessary, the ambition of your future goals.

So, what are you going to accomplish in practice this week?

Welcome 2015, Becoming Observant

Yes, I am still here.  In 2014, I was involved with 9 shows.  That was more than I did in 2012-13 combined.  Also, I spent the year teaching at a local community college.  Needless to say, many things fell by the wayside including this blog, but I'm not at all short on things I want to share, so I hope to be giving you more frequent things to read.  I am doing fewer shows and only teaching privately, so hopefully this will help.

Coming soon: I will talk about suggested goals for this year.  In the meantime, you may want to read what I suggested for last year.

IMPROVING OBSERVATION

One general way that nearly all of my students need to improve on for becoming better music students is to sharpen their powers of observation.  In music, you need to notice several things:

• Familiar chord progressions and voicings
• Key signatures
• Melodic patterns
• Repeated sections and their variations
• Textual instructions (slow down, up an octave)
• Dynamics
• Fingerings

...and so on.  I can't tell you how much lesson time is spent pointing out to a student that they simply need to look more carefully at what they're playing.  They know what the note is, but they don't notice it until I say "check it again."  They get to a repeated section of something they played well the first time and approach it like it's new material.  Musicians are people who are very observant.  They notice things they see and things they hear.  When my wife logs off on her wii, she tends to do it at the same rhythm to get 3 distinct patterns of 2 notes, 1 note, and 2 more notes.  I went to the piano and found that they make a great waltz.  Did you know that cylindrical fluorescent lightbulbs constantly hum on a Bb?  Have you ever listened to the rhythm of a car alarm, or the complicated songs of birds?

There's late '90s British television show called Spaced that has this one scene that nails how many musicians think.  This minor character, Tyres, is visiting his friends.  He's usually wearing headphones, frequently visits a lot of clubs, and basically transforms everything into music.  Watch what happens inside his head as soon as the phone starts ringing.

https://www.youtube.com/watch?v=dJ0zGZ2t7xE

One exercise I've always suggested to people for improving observations is to select a mundane object, like a clock on the wall, and write down 20 things about it.  Today, I found this article about How to Boost Your Observation Skills and Pay Attention.  Please read it, as I think you will find a lot that will help you with your music and with life away from your instrument as well.

Why Good Practice is Uncomfortable, 6 Benefits of Music Lessons

Good Practice = Outside the Comfort Zone

Running is something I've done for recreation the past two years.  I've run in two 5k races, and was training for a 10k when I had three minor injuries (not all running-related) crop up at about the same time.  That was in August and, since then, I've run once or twice a month, always with a little pain and not with any consistency.  This weekend, I decided to commit to running again now that my nagging pains were gone.  My most recent run was just two miles, and it was pain free, but even that was very challenging and at a slower pace than normal considering I hadn't run in a full month.  My conditioning is not what it used to be, and it was definitely pushing myself to run even two miles without a walking break.

As my lungs were still trying to process the cooler air, the thought occurred to me afterward, "I hope I didn't push it too much.  Maybe I should have walked some and taken it easy since I'm clearly out of shape?"

Then I answered my own thought with another question:  "But how can you expect to get in shape if you don't push yourself?"

It's the same with music as with fitness.  If you do only what is easy and experience no frustration of your own barriers, then you can't expect to get better.  The best you can do is the equivalent of treading water.  Growth requires discomfort.  Practice that leads to you being a better musician will feature most if not all of the following elements at some point:

• A challenge you can't solve in one sitting, or maybe even a few sittings.
• The urge to give up (because pushing yourself can be humbling).
• Frustration
• Many rounds of failure before that breakthrough of success.

You don't have to struggle in practice.  You can just play music you already know and keep your techniques where they are now.  This is fine...provided you don't desire to get any better than you are right now.

If you want to improve as a musician, embrace the struggle that will come.  DO push yourself.  Don't fight it.

6 Benefits of Music Lessons

A parent of one of my students sent me this article on 6 benefits of music lessons from Parents magazine.  I thank him for sending me this, and hope you'll take time to read this article of what music does for you beyond simply learning an instrument.

New Year, New Goals

One year ends and another begins.  This is a great time for thinking about new goals and resolutions.   It's a good time to think about what you'd like to do with your piano studies.  Obviously, for a resolution to mean anything, YOU have to commit to it and buy into it.  It's great if you choose and follow your own goals.  However, if you're scratching for ideas, here are some suggestions.

1. Commit to 300 days of practice.

Here's how it works.  You don't plan for 300 days.  You plan for 365 days, but you understand that things come up, and you might not be able to practice every day.  Hopefully, those days where you can't practice won't happen often, but you must commit to achieve this.  300 days is 6 days a week for 50 weeks per year.  To prove you've done this:  keep a log of your practice.  Here's an example of how your log may look.

2.  Add 5 more minutes to your average practice time than you did in 2013.

I hate even suggesting practice times because of differing goals and schedules.  Any time you add, even 5 minutes per day, will make a difference.  But if you really, truly want to make leaps and bounds on the piano, you need to be thinking much more than that.  However, let me offer the next suggestion to go along with this one.

3.  Shoot for at least 3 hours of practice within a week.

If you're keeping track of the numbers, that's 6 days of practice at 30 minutes per day.  Now, maybe you've had a busy day and can only practice 10 minutes.  That means you'll have 20 minutes to make up later on.  A good solution is to plan for, as an example, 45 minutes of practice, which gives you some leeway.  No matter how many minutes you practice, the days matter the most!  4 days X 45 minutes equals 3 hours, but it's not as effective in the long run as 6 days X 30 minutes.  Keep in mind that this suggestion is only intended for those who are not already doing 30 minutes per day on the average.  If you're doing more already, then just see if you apply goals 1 and 2.  30 minutes is a floor, not an ultimate goal.  More practice, provided you're practicing daily and correctly, is always better.

Does your practice schedule match the type of pianist you want to be?

4.  Become an expert at practicing, note reading, and technique.

       A. Practicing - Learn how to aggressively and strategically break a piece down and to overcome any difficulties.  Learn how to estimate the maximum number of measures you should expect to learn in a practice session, and become really good at those, not just barely improved over the whole piece.

      B. Note reading - You need to know all the notes you ever see in a piece of music, AND you need to be able to name the notes without having to think about it.  You should be able to see a note and name it instantly.  If you can't yet do this, go here several days per week at http://www.musictheory.net/exercises/note, click the customize button in the upper right corner to set up your exercise to suit you, and get good on the notes.  Answer 100 notes correctly within 3 minutes, and you are an expert.

     C.  Technique -  Play your scales with the right notes and the right fingerings on every single attempt no matter what the speed.  Learn all your chords and arpeggios for your level.  These are the things you just plug into practice and speed up the process.

What else musically do you wish to accomplish next year?

I want to wish all my students and readers a happy New year, and for a most successful 2014!

Seven Types of Pianists

WHY ARE YOU TAKING PIANO LESSONS?
That's more of an attention-grabbing question than I intended, but it's a question all students should ask of themselves at some point.  This isn't a question with a right or wrong answer, but if your goal is to be  good enough to compete in the Van Cliburn Competition (ongoing now, you can go to their website for radio/video footage), then you need to know what that takes as far as commitment.  Here's a sample of some goals you could have as a pianist, and a general idea of what your preparation should look like.

1.  Be acquainted with the piano.  In other words, you know where the keys are.  You might read some music, and you may even know a few pieces.  You would be considered a beginner in terms of level. This can be accomplished with just a little daily practice (5-10 minutes) and a short-term period of lessons.

2.  Play for small churches or include piano as a secondary/alternate instrument.  If you're primarily a musician on another instrument, and just want to have a solid grasp of the piano as an instrument, or if you want to be able to play for a small church, then you need to work towards knowing your basics:  scales, chords, arpeggios...and learn at least average sight-reading skills.  Daily practice of 15-20 minutes average per day plus half-hour lessons will get you there.

3.  Play as an ensemble player for rock, jazz or other non-classical group.  This is a different type of focus.  Reading music is nice, but you need to be great on your technique.  You need to be as learned as you can with reading chords and incorporating them into music.  You need to develop your ear training as much as you can.  An ability to improvise a solo doesn't hurt.  Half-hour to hour lessons are good, and you should be trying to average 30-45 minutes practice per day.

4.  Be a well-rounded, intermediate pianist.  Some people read "intermediate" and see this as less than good.  Intermediate means you are playing solid, non-beginning music such as much of Mozart, some Chopin, some Beethoven...and sound good when you play.  You're not playing flashy, virtuoso music, but there is plenty of intermediate music that sounds good to the majority of listeners.   This needs a well-rounded music education and eventual commitment of 45 minutes to an hour practice.  Don't worry about these numbers.  You can work your way up to them.

5.  Be a "gigging" professional musician.  To be honest, even though I somewhat qualify for category # 6, this is truly my personal category.  A gigging or working pianist can play for theatre shows like You're a Good Man, Charlie Brown, or large churches, or play for weddings/dinners/parties, and accompany dance studios.  This takes a big commitment.  Plan on years of lessons, eventually 1-hour long, learning as much music theory as possible, maximizing your ear training and sight reading skills, and fully mastering your technique.  I recommend an average of 1-2 hours per day practice until you reach a high level.  At this point, you can fall into a 30 minutes - 1 hour maintenance/slow progress.

6.  Be a piano performance major at a conservatory like UNCSA.  Because I teach in Winston-Salem, and because the University of North Carolina School of the Arts is so visible to the community, I sometimes get students who one day after taking a number of lessons decide that this is what they want to do.  The only problem is that they've demonstrated the practice habits of one of the first 3 categories, probably not enough for category # 4 and certainly not for category # 5.  This category is for serious pianists.  The average performance major at UNCSA probably has averaged 3 to 4 hours of daily practice for years.  You need to conquer everything.  An hour lesson per week is minimal.   To achieve this goal, you need to forget about most everything else.   I don't mean school, but I mean other extracurricular activities.  The people who make this goal are NOT well-rounded.  They are specialists, very very good at this one skill.  That's not to say you can't taper off and add some more to your life.  The best organist I've ever met is now an avid long-distance bicyclist.  That's now though.  When I knew him in college, all he ever did was practice.

7.  Top tier pianist.  First, let me break this gently.  Start young, and start aggressive.  If you're 8 years old and not already practicing an hour or more per day and playing early intermediate repertoire, forget this goal.  This is not your top 1% of pianists.  This is your top 0.00001% of pianists.  That's 30 Van Cliburn finalists measured against a roughly estimated 300 million pianists in the world.  You need to devote your life to this single-minded purpose.  Practice becomes your full-time job.  8 hours a day.  You need to learn to master the most advanced repertoire that exists AND try to do it better than everyone else has.  It's an intense goal that I could never recommend.  You don't choose to do this goal.  You are driven, compelled beyond reason to do this goal.  In 13 years of teaching, I've had some talented students who have fit each of the first six categories.  I've never had a student who came close to this.  I never resembled anything close to this as a student myself.  The only reason I put it here is for perspective.  You need to know how your practice habits and goals stack up against the equivalent of the World Series quality for pianists.

Again, none of these 7 goals are better than the other.  They are just various ways you can learn the instrument.  Do you have to choose one now and keep it for life?  No.  However, you need to have a goal that suits where you are right now, and practice right now in such a way that you are working towards that end.  Again this is only a sample, not comprehensive.  Do you have a goal that doesn't fit the above categories?