Don’t Forget to Practice

keep-calm-and-practice-your-instrument-3What does it mean to practice? If you’re like me, you are happy just to have time to pick up your instrument and get a sound out of it. More often than not I’ll just play a bunch of tunes. And that’s not a bad thing at all, I suppose, but if you’re just playing aimlessly and not really paying attention to what you’re doing, is it really worth it? If you’re playing tunes incorrectly the whole time, or executing ornaments sloppily, is it really beneficial to you, or does it just make things worse?

Practice, on the other hand, is performing a skill repeatedly to perfect it, right? But you have to know what your goal is. If you have no clue what “perfect” means in your particular field, you’re shooting spitballs in the dark. And I doubt you’ll like what you see once the light is turned on. Neither will your mother, so clean that mess up!

Wow, I’m the analogy master.

But really, you need goals. Short, medium, and long-term goals. It’s kinda like life. If you’re not aiming for something you’ll be lucky to hit it. So take a few minutes to sit down with a pencil, paper, computer, whatever you have to write with, and jot down what you want to accomplish with your playing.

For example, and hypothetically speaking, let’s say I want to play fiddle at regular, full speed sessions. (This is actually true.) That would be my long-term goal. Now I have to decide what I need to do to get there.

There’s a lot involved in playing Irish music, like rolls, cuts, and intonation. Also, string crossing and figure-eight bowing patterns that happen in so many Irish tunes. As short term goals, I can set a little time aside at each practice session to work on those things.

Another short-term goal might be to work on my speed–playing regularly with a metronome, and increasing the speed gradually over multiple practice sessions.

My medium-term goal might be to learn 3 tunes that I can put together as a set, so that when I get to try my new skills out I am prepared. So I can devote a little time at each practice session to that as well.

Both the short-term and medium-term goals serve the long-term goal, obviously. It’s up to you to decide what is important to you in terms of reaching your long-term goals. You might not think that snappy rolls and cuts really matter all that much for session playing, or that you want to defer working on them so you can work with a metronome to increase your speed. Don’t set intonation practice aside though, please–no one will want to play with you if your intonation is bad.

So let’s say I get an hour to practice every day. I might break down my session like this:

INTONATION–10 minutes scales along with a recording or drone note.

ORNAMENTATION–5 minutes each rolls, cuts, trebles, slowly (15 minutes total)

BOWING–10 minutes play part of a tune that uses the figure eight bowing pattern, slowly.

TUNES–25 minutes learn/practice playing a tune, slowly (at least half-speed) focusing on the notes and intonation. Use a metronome for consistency, and increase speed regularly.

As I get better at the skills, I can change my goals. Eventually I’ll want to play the tunes adding some ornamentation, but I’ll save that for later.

Anyway, I hope this helps. I know it’s difficult to be disciplined about practice when you just want to PLAY. But there’s a difference between playing and practicing. Practice at home, play at the session. And may your practice be focused and productive–you’d be surprised how much your playing improves if you devote a little time each day to the basic skills. And furthermore, there’s already a ton of info and opinion about effective practice online and in published form, so do your own googlin’ and see what else is out there. Most of what I have written here is based on what I’ve learned online, but al ot of it is just common sense.

Happy practicing!

P.S. I recommend recording yourself as well–this can give you valuable feedback on your progress. DO IT! I do: ME ON YOUTUBE

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Scales and Drones

There’s one thing I have learned in the few short months I have been learning to play the fiddle–proper intonation is a must. It’s a good idea to mindfully practice good intonation, rather than just sawing away at practice time and hoping it’ll work itself out. Not many folks appreciate playing with a fiddler whose intonation is off.

There are a couple bits of advice I have heard regarding achieving good intonation:

  • Practice along with recorded scales
  • Practice over a drone note

Brass_scales_with_cupped_traysWhen practicing to recorded scales you are listening to your playing and attempting to match your tone with the recording. It isn’t hard to hear when you’re a bit off. The idea is that eventually your fingers will learn where to go to play the notes accurately. Here are some links to scales that would be useful for playing Irish traditional music–feel free to download!

A major–one octave

A major–two octaves

D major–one octave

C major–one octave

C major–two octaves

G major–two octaves

dronePlaying along to a drone means that you are listening to a single note–probably the root or tonic of the scale or tune you want to practice–and listening to the relationship between your note and the drone note. You can also play tunes along to it if you want to make it a bit more musical. I find this method more intuitive–the drone becomes almost like background, in a way, and you are able to listen attentively to your own playing. This link will take you to a site where you can play along with or  download drones–every possible note is represented. (To download, click the link, then right click on the drone you want. Select “save as” in the menu and voila!)

 

I am not a brain scientist, but I get the sense that using these two techniques in conjunction forces you to use your brain in slightly different ways,  solidifying your ability to play in tune. It’s helped me quite a lot–try it for yourself.

Thoughts on Picking Up a Second Instrument Before You’ve Mastered the First

ImageI am curious by nature. If something is a mystery to me, I’ll try to find out more about it. Take the Japanese language, for example. After learning Irish I found myself very curious about Japanese because I watch a lot of anime, and the language and its native speakers seemed very…different from myself and my own language. Was it as hard as I had heard? Were Japanese people special because they could speak it?

No, on both counts. It’s just a language. If you put in the time and effort, you start to get it.

I saw the fiddle in a similar way, and asked similar questions about how it’s played and the people who play it. So I decided to take it up. Like Japanese, I really love it. But since it’s music related, I have a feeling I won’t let it fall by the wayside the way I did with the native language of Japan.

Taking up another instrument, especially if you’re not a master of your first, brings up some issues. You should be aware that the second instrument can take time away from your first–I still need to practice the concertina, but I’m pretty dedicated to the fiddle as well. I am lucky in that i am able to play the concertina most days at lunchtime at work–either outside or in the car–so I get to play it pretty regularly. This means I can practice the fiddle at home without using up a ton of time. If you don’t have this advantage, though, think hard about whether a second instrument is going to work out for you. Picking an instrument that is portable, like the concertina or the whistle, might be a good choice if you have the option to practice away from home.

One advantage of playing two instruments is that your playing and progress on one will inform your playing and progress on the other. Your sense of timing, pitch, and your ability to really memorize tunes are all enhanced by the different approaches to music. It’s also true that if you have progressed well on the first instrument you will probably progress well or better–and possibly more quickly–on the second. It’s that way with languages too–you learn how to learn. It makes it much easier the second time around.

Another caveat which I have heard mentioned is that if you pick an instrument that is too similar to your first, it can trip you up. I’m not sure if this would be true for everyone, but I do think it could cause some folks a headache or two. For example if I had picked the English system concertina–it would feel familiar in my hands, but it’s played very differently. I may find myself wanting to use techniques that apply to the Anglo system that would never make sense on the English.

So think well, weigh the pros and cons. Your second instrument will take just as much time and effort to learn as the first, so make sure you have it to give! And by the way, cowbell is alot harder than it looks, believe me–I recommend fiddle instead. ;)

Improvin’ thru You-Tubin’

old-television copySince I started learning the concertina about a year or so ago, I have been posting videos of my playing  on YouTube. (My YouTube channel) There are a few reasons why I think this is a good idea:

First, I do it because it allows me to hear my playing objectively, without the distraction of actually having to, well, play.

It also allows me to track my progress over time–I can go back a few months, if I  dare, and wince along with my earlier self as I butcher perfectly good tunes. Then I can breathe a huge sigh of relief as I remember that the video I made just yesterday sounds waaaay better. Relax–you’re improving!

I also like to share the videos with as many people as I can. As crappy as my playing can be, I find it benefits me to play for an audience, even if they are not in the room. In fact, it’s kind of a first step toward being comfortable playing in front of real live people because you know it’s going to be seen and commented on, if not immediately.

So here are a couple examples of my videos–both recordings of The Congress reel. The first is from April, 2013, and the second is from this month–November, 2013. You can definitely hear the improvement in rhythm and speed.

And just for laughs, here’s the first concertina vid I ever posted–in it you can see I still have the enourmous rental concertina from The Button Box in Sunderland, so this was within 90 days of my very first encounter with the instrument. Junior Stevens taught me this version of the reel The Wind That Shakes the Barley–I need to record this again for comparison. Hopefully I’ll do Mr. Stevens proud!

The Pub Session is a Socially Complex Critter

did ANYONE remember their instrument?

Did NONE of us bring an instrument?

I’ve been thinking lately about a local pub session that I try to catch about once or twice a month. It’s in a nice pub, with a nice atmosphere–perfect for getting together for a quick drink or a bit of food with friends. This session has been going on weekly for some time now, so there has been plenty of opportunity for the group dynamic to solidify and change a few times. As it stands now, there is a line that can be drawn, almost literally, between two main groups of musicians who seem to have very different motives and goals as related to Irish music.

One group–who I’ll call “The Traditionalists,” are very interested in the music for its own sake. They generally go for “the pure drop,” that is, the music played in a traditional style without so much flash. In other words–they just want to play, and make the music sound authentic, the way it might sound in Ireland herself. They listen to the music very carefully, they are interested in improving their playing, and they are interested in encouraging and teaching anyone who feels the same. They take inspiration from other, older players who are well known for their virtuosity in the music. They know how to listen. These folks have been very welcoming to me, and I consider myself pretty much solidly in this group.

The other group I’ll call “The Performers” this group seems not to be interested  as much in the music itself as are the Traditionalists. When I started attending this session some months ago, I sensed right away that there was something different about some of these folks. It’s hard to put one’s finger on it, but when one fiddler decides to play tunes outside the genre, and string five, even six such tunes together in a set, one realizes that they are not like the Traditionalists. They are performing. Their style of playing screams “WATCH ME!!! I’M PLAYING!!!”  When one sees how a particular bodhrán “player” (ahem) really just isn’t any good at all, and furthermore uses other objects to inject “rhythm” (ahem) into the tunes, such as glasses, beer bottles, and using the tacks on the side of the bodhrán like a jug band washboard, one realizes that they are less than interested in the music. There are other examples, but I will not go into more detail.

On any given evening, the number of Traditionalists about equals the number of Performers. The Trads form one half of the circle, the Performers form the other. One Trad pointed out to me, only half-jokingly, that you could build a wall between the two and everyone would be happier. The tension between individual session members can be palpable at times, though mostly everyone coexists in an attitude of tolerance that the Dalai Lama himself would be proud of. That all-out war doesn’t erupt, especially given some of the stories I have heard, is nothing short of a miracle.

The questions that pop into my head are numerous–how did this dysfunctionality happen? What can be done about it? What are the “Performers” doing there to begin with? Why don’t the “Traditionalists” leave and start their own session elsewhere? Is this common at pub sessions? Why don’t they openly talk about what they all want the session to be, like adults?

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Ear Training

Remember how I was curious about whether there was an online call-and-response interval trainer, similar to our exercise from last session? Well I found this–it’s a little complex. but here’s what you do (there are also instructions below the applet):

click on the melodies tab, and check the box next to the word “melodies”.
on the left, under “note/scale options” choose only the notes you want to practice.
on the right, under “Each box is a…” choose “single note”
choose your preferred melody length
choose whether you want it to restrict the pattern to a single octave
under the controls coumn, far left, choose your tempo, then hit play and see what happens!l

http://www.iwasdoingallright.com/tools/ear_training/main/

Apps for tune learning and identification

tunepal imageHi folks. We talked about Tunepal, which is a great app (I hear-I don’t actually have it yet!) for identifying and learning tunes. Well worth the less-than-five-bucks–and you can use your device’s microphone to record a snippet of a tune you don’t know the name of, and it will search a number of databases to find the most likely match. :)

For the android users out there:

https://play.google.com/store/apps/details?id=org.tunepal&feature=nav_result#?t=W251bGwsMSwxLDMsIm9yZy50dW5lcGFsIl0.

For the iOS users:

https://itunes.apple.com/us/app/tunepal/id356935033?mt=8

Also, here are two android apps for slowing down your tune files. They’re free!ASC (audio speed changer) will slow own, speed up, and loop sections of your tunes. no pitch change though so you’re stuck with the tuning of the original recording:https://play.google.com/store/apps/details?id=gabriel.audioslower.lite&feature=search_result#?t=W251bGwsMSwxLDEsImdhYnJpZWwuYXVkaW9zbG93ZXIubGl0ZSJd

Audioshift will change speed and pitch up or down, and has a much more user-friendly user interface:

https://play.google.com/store/apps/details?id=net.surina.audioshift.free&feature=search_result#?t=W251bGwsMSwxLDEsIm5ldC5zdXJpbmEuYXVkaW9zaGlmdC5mcmVlIl0.

Both apps have a free version and a paid version with enhanced features. I personally use ASC more than Audioshift.