Best Counting Methods

David Motto’s Practice Tip of the Week:
The Best Counting Methods

Why Count? 8 Ways Counting Makes You a Better Musician

One of the top pieces of advice music teachers give their students is to count all the time while they’re playing. Keeping the count allows musicians to improve their sightreading, be better ensemble players, and to never get lost.

Counting While Sightreading

When you sightread (whether reading written-out notes or chord charts), you must count as if your life depends on it. Here are two counting rules for sightreading:

1. Never Stop Counting: You can never stop the count while reading unfamiliar music. If you get tired of counting, you should just count with even more concentration, raising the volume of your inner voice to make sure you’re paying attention!

2. Subdivide: Subdivide your count to match the fastest notes on the page.

  • If there are eighth notes in your music, then count eighth notes (“1 and 2 and 3 and 4 and”). Subdivide even in the bars that have only larger note values.
  • For a song in 6/8, 12/8, or even 4/4 with a ton of triplets, subdivide your count into triplets. (“1 and uh 2 and uh 3 and uh 4 and uh”)
  • If you see sixteenth notes, then subdivide your count into sixteenths. (1 ee and uh 2 ee and uh 3 ee and uh 4 ee and uh.) Make sure you start this process before you get to the bar with the sixteenth notes in it!

Improving Rehearsals and Performances

Many people, especially those who regularly rehearse and perform in a group, rely on other musicians to help them keep their place. Well, wouldn’t it be great if you were the person everyone else relied on? You would be an asset to the group, you would feel in control of your music, and you would contribute to a better ensemble experience.

And, you’d be more relaxed. And confident. You might even have more fun!

Working on counting in the practice room gives you confidence in rehearsals and performances. Try these two strategies to improve your group playing:

1. Count the Song Form: When you know where you are in your music, you can cue other musicians and make stronger transitions. Be sure you know how many bars are in each section of your songs.

2. Focus on Downbeats: Always make sure you know where the downbeat (beat one) of each measure is. If you don’t know where beat one is, you could easily get lost. Actually, it is highly likely that you will get lost.

How Counting Redefines Success

The counting process needs to be worked on at every practice session and can actually re-define what it means to practice, learn, and master a sequence successfully.

Most musicians feel they are successful when they play all of the correct pitches—even if they accidentally stretched time a bit to get to all those pitches.

However, you view success differently if your focus is rhythm and time. Keeping all the rhythms intact—even at the expense of missing a couple pitches—could be seen as more successful than getting pitches while missing rhythms.

After all, this is what must occur during a rehearsal or performance. If you miss a specific note while on stage, the rest of the musicians do not slow down so you can go back and correct that pitch! So, make sure your practicing is not always focused on pitches. Focus on the count and the rhythms.

If you are having difficulty keeping the count in your head while playing, then count out loud while playing. This is extremely difficult (especially for wind players!!) and forces you to slow down to a speed where you can both play and count.

Summary of Counting Strategies

Here’s my list of strategies in this Practice Tip of the Week:

1. Never stop counting while sightreading.
2. Subdivide your counting to the fastest rhythm you need to control.
3. Be the person who knows song forms, so you can lead other musicians.
4. Always know where Beat One is.
5. Play songs where keeping the rhythm intact is the main goal.
6. Count out loud.
7. Slow down if you need to, in order to count and play at the same time.

To Your Musical Success!
David Motto

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Controlling Your Inner Voice

David Motto’s Practice Tip of the Week:
Take Control of Your Inner Voice

Performing while criticizing yourself is not healthy

It’s important to use your inner voice very carefully when you practice and perform.

Did you just think to yourself, “What inner voice?” If you did, that’s the inner voice I’m talking about!!

The inner voice often acts as a critic, stating everything you’re doing wrong. (And, a common name for this voice is our “inner critic.” I’d rather have my inner voice be my inner coach or inner cheerleader!)

At other times, it tells you that you sound great. Really great. The best you’ve ever sounded. The voice is full of pride – and not the good kind of pride where you’re proud of working hard and at your highest level. It’s usually the other, bad kind of pride (also known as hubris), which got pride added to the list of the 7 deadly sins.

Either way – critic or braggart – these thoughts can cause you trouble.

Focusing Outward vs. Focusing Inward

If this voice says things about you, then you have gotten outside the music and have started to think about yourself while you play. Your job as you play is just that—to play. You shouldn’t be thinking about you, your capabilities, and how you’re doing. Performing while criticizing yourself is not healthy!

In a perfect world, we would be able to silence this voice completely while we’re playing. But, turning off the voice is next to impossible for most musicians. Instead, you can control this voice and use it to your benefit.

The key is to focus this voice on the process of playing the music itself.

For instance, you can say, “Play those notes loudly” as opposed to saying “I always forget to play those notes loudly, so I better remember this time.” Though these two statements assert the same idea, only the first version helps you play better by focusing outward toward the music.

The second version points inward toward yourself. It also describes a perceived weakness that you may or may not actually have. This inward focus should be avoided at all costs.

Be Wary of Self-Praise

The funny thing about the inner voice is that it causes difficulties in your playing even when it gives positive feedback. Whether the voice is criticizing or praising you, it can be a hazard to your musical health.

If you tell yourself, “I sound great” while you’re playing, it’s a sure sign that you’re outside the music. You’re thinking about yourself instead of just playing.

As soon as the inner voice begins to praise, you will most likely make a mistake in your playing. The higher the praise, the more likely the mistake.

For instance, if you say “This is the best I’ve ever sounded,” you are sure to fumble on some passage that is usually the easiest in the song.

Looking Forward vs. Looking Backward

One reason for this strange phenomenon is that thinking about yourself looks backward—at what you just did. Meanwhile, the music is still moving forward and needs your undivided attention. While you’re busy praising yourself and how well you’ve been doing, no one is in charge of the upcoming notes!

You’ve got enough to do to keep your music rolling forward without adding the extra burden of thinking about what you just did – in the past! So, whether what you just did was amazing or terrible or somewhere in between, keep your inner voice focused on the task at hand.

The practice room is the best place to start focusing your inner voice toward the technical details of your music. Don’t criticize yourself. Just give directions on how to execute the notes.

To Your Musical Success!
David Motto

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Achieving Your Musical Dreams

David Motto’s Practice Tip of the Week:
Achieving Your Musical Dreams

Today is the third day of the new year. Some people have already dropped their resolutions! Research tells us that 25% of new year’s resolutions are dropped in the first week, 50% dropped after one month, and only 10% make it to the end of the year. There must be a better way!!

New Year’s Resolutions for Musicians

Musicians typically have resolutions that sound something like this:

Resolution 1: “I resolve to become a better musician this year.”

Resolution 2: “I’m finally going to learn that one song that’s always seemed just beyond my grasp.”

Resolution 3: “This year, I’m actually going to practice every day.”

Sound familiar?

These are all worthy resolutions – and they’d be even better as well-thought-out goals. Let’s look at each of them individually:

1. Becoming a Better Musician
Becoming a better musician is what we all try to do each and every year. It’s a long-term, essentially permanent goal. It’s also just a little bit vague. Vague goals are challenging to achieve.

2. Learning “That Song”
That song. You know the one. It might even be the song that got you to become a musician in the first place. This goal is specific, which makes it a better target as both a goal and a New Year’s resolution

3. Practicing Daily
Practicing daily is also a specific goal. And, it’s incredibly short-term, which makes it a perfect New Year’s resolution. You can control whether or not you practice on any single, given day.

Achieving Your Long-Term, Life Goals

For all goals (including New Year’s resolutions) to be achieved, they need to be specific. If you’ve been reading these practice tips or my blog for any period of time, you know I’m a big believer in the SMART Goals system, and the “S” in SMART stands for Specific.

I also believe that having a short-term deadline is a key component of goal achievement. Short-term goals are easier to grasp in your mind. They’re easier to complete. And, they don’t seem as overwhelming as longer-term goals.

What’s most important about short-term goals, though, is this: Without short-term goals you can’t achieve your longer-term goals anyway. It’s the daily and weekly goal achievement that build up to the big life achievements. Simple, but profound.

Ordering Your Musical Goals

I recommend you put your goals and resolutions in this order:

PUT THIS FIRST: Make Daily Practice Your #1 Goal
Commit to practicing every day. Even if it’s just for 10 minutes. Do whatever it takes. You can definitely, absolutely achieve this very short-term goal!

THIS IS SECOND: Work on “That Song”
Each day, work on a very small segment of “that song” that you’ve been dreaming of playing. Even if there is absolutely no way you can play the entire song now, you can always learn just a few notes a day. Each little section is a short-term goal that you can and will achieve.

Put together these small sections of your song one by one. Over time, you’ll conquer the song one small bit at a time. The very process of putting the short sections together into one cohesive hole will make you the better musician you’re dreaming of being!

Achieving Short-Term Goals:
The Effective Path to Achieving Your Dreams

If you follow these steps, you will be able to play “that song” by the end of the year! And, working on small skills every day and finally learning “that song” will turn you into the better musician you want to be.

Focus on your short-term goals. They are the key to your success. Without short-term goals, there’s no way to achieve long-term dreams!

Here’s to achieving your short-term, near-term, and yearly goals 2018. Happy New Year!!

To Your Musical Success!
David Motto

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Drill, Baby, Drill

David Motto’s Practice Tip of the Week:
Drill, Baby, Drill!

Finding the Right Solution

Even when you’re already using efficient practice techniques – like Very Slow Practice, focusing on Tough Stuff, and Breaking Down songs into small chunks – you may feel you need something more to truly master your songs.

What you need are very specific exercises based on the notes, keys, rhythms, and problem areas in your music. These drills give you some relief from the song itself, and they support learning your songs.

If you’re taking lessons, your teacher will often create these short drills for you. However, you’re likely to encounter material between lessons that could benefit from your own creative approach to the notes. So, during your practice sessions, you’ll need to develop the skill of making up these drills yourself.

The first step is to accurately define what the problem is. Then, isolate this problem and create a short pattern that unlocks the difficulty and propels you to success.

5 Effective Drills to Try

To get you started with this process, I’m including five drills as suggestions for you. My hope is that these examples will inspire your creativity so you can develop effective drills of your own. (And, if you’ve created a really good drill, please share it in the Comments below!!)

Here are my five suggestions:

1. Use the Song’s Key
Play scales and arpeggios in the key of the song you’re learning. Sometimes, that’s all it takes to create an “aha moment” when you see exactly what’s been holding you back.

2. Match a Difficult Rhythm to Your Warmups
If you are working on a difficult rhythm, incorporate this rhythm into your scales (including chromatic scales). For instance, run today’s scales and arpeggios using the rhythm. First, play the rhythm on each pitch. Then, go up and down your scale using the rhythm.

3. Isolate a Rhythm
Specific rhythms can also be played on single notes, random notes, or even by tapping your hands on a table. This will free you from the confines of the melody and key while you internalize the rhythm.

4. Break Up Fast Runs
If a run of eighth notes or sixteenth notes is causing difficulty, alter the rhythm to either (a) long, short, long, short or (b) short, long, short, long. This can be just enough of a change to pinpoint the exact notes that need your focus. You’ll force yourself to notice which pitches are easy to play and which are more challenging. Then, you can focus on the challenging parts.

5. Go Backwards
Play a bar or two both frontward and backwards. Playing notes in reverse order gives you a new perspective on moving comfortably from note to note. This is a top practice strategy for solving problems with hitting pitches accurately.

You’ll Save Time

Your drills can be a big time-saver in your practicing. The drills will pull you out of the malaise that can happen when you go over and over one short song section. Drill focus you in on what you’re actually trying to solve.

Drills also can be used effectively as your warm-ups, essentially creating a “two birds with one stone” situation. You’ll be warming up and learning your songs faster! This is especially important if you have a limited amount of practice time each day.

To Your Musical Success!
David Motto

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Practice in Front of a Mirror

David Motto’s Practice Tip of the Week:
Really Seeing Yourself

When we practice, we often feel that our technique is strong and we are playing efficiently. It would be interesting to know if someone watching us practice would come to the same conclusion.

Getting Real-Time Feedback

You should have the means to see yourself practice. Probably the best way to accurately watch yourself is to shoot a video and then watch it all the way through. I highly recommend using video, especially for performance runthroughs and at lessons. On a daily basis in the practice room, however, video isn’t always practical.

A simpler way to see exactly what you’re doing while you’re practicing is to watch yourself in a mirror. This gives you real-time, live feedback as you’re working.

When you practice in front of a mirror, you can see if you’re doing something physically that is getting in the way of creating the sound you desire.

4 Things to Look For

Here are specifics to look for in the mirror:

  • Posture: Sit or stand so that your spine is fully supported.
  • Tension: Watch for raised shoulders, clenched jaw, a forceful grip, tight neck, or your arm(s) held in an unnatural position. Even raising your eyebrows can be evidence of tension building.
  • Habits: If your teacher always brings up a specific habit that gets in the way of improving your technique, look for it in the mirror.
  • Confidence: You want to look at ease and in control as you play. Be sure you look like a performer an audience would want to watch.

Be Aware of These Issues

Using a mirror in the practice room can feel unnatural. Watch out for these issues:

  • Use a mirror big enough to see your whole body. You want to see the cause of all issues, especially tension and posture. For instance, if your torso is uncomfortably twisted, it may be the placement of one foot that is causing the problem. You would never see that foot in a small mirror.
  • The very act of looking in the mirror may cause you to change your playing position. Don’t watch yourself the entire time.
  • Place the mirror where it is very easy to see yourself. The mirror is of no use if you must turn 90 degrees to see it!

It’s easier to see a physical issue that affects your playing than it is to feel it. Having a mirror in your practice space lets you quickly see a problem and allows you to see yourself from the outside – just the way your teacher would.

To Your Musical Success!
David Motto

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Long Practice Sessions

David Motto’s Practice Tip of the Week:
Making Long Practice Sessions Efficient

Advantages of Long Practice Sessions

While you can accomplish a great deal in a short amount of practice time, there are advantages to long practice sessions.

Aside from the obvious fact that you can cover more material in three hours than in fifteen minutes, there is a more intriguing reason to experience a long practice session:

There seems to be a mental change that occurs after playing your instrument for about two hours. A kind of clarity, expressiveness, and creativity can well up—seemingly out of nowhere.

Getting in the Zone

Some musicians describe this state as being “in the zone,” the same way athletes describe peak experiences. While in this zone you play in a heightened state of awareness and see new possibilities.

Insights about your technique and phrasing occur. You may notice connections between various items you’re practicing.

You pay attention to your muscles in a special way. Fantastic ideas for a new song, solo, or technique instantly and mysteriously enter your mind.

Whatever the reason for these experiences, they are definitely worth having and seldom occur during short practice sessions.

Playing for long periods of time every day may not be possible for you, but you should give yourself this experience every now and then.

Building Up to a Long Practice Session

If practicing for three hours at a time seems too daunting, you can build up to it. For instance, if you’re currently putting in twenty minutes a day, shoot for thirty. Try that for a week or two. Then, go for forty-five minutes. If you’re practicing one hour per day, try an hour and a half and go through this same build-up process.

For many people, more challenging than the stamina needed for a long practice session is finding a way to have 2 – 3 hours in a row available to devote to music.

If this sounds familiar to you, here’s my suggestion: Schedule the long practice session on your calendar. Make an appointment with yourself to do something that’s important to you. And, keep that appointment!

To make big strides in your playing, the quality of your practicing is the #1 issue to focus on. And radically increasing the quantity of your practicing is another strategy to help you achieve breakthroughs. Long practice sessions – done in the right way – give you both quality and quantity.

Crucial Information about Long Practice Sessions

Scientific research reveals that people have a difficult time focusing and concentrating at the level needed to make improvements in your musical skills for more than 10 or 15 minutes at a time.

What this means for us while we’re in the practice room is a strategy that can forever change your musical life.

This is the strategy:

Plan your practice time in 10 minute increments.

If you’re practicing for 60 minutes, think of using your time for six 10-minute items that you will focus completely on.

If you follow this week’s Practice Tip and practice for 3 hours, that will translate to about fifteen 10-minute periods of intense focus (with a minute or two of “off time” in between and a short break every 30 or 60 minutes).

This concept of 10 minutes of highly focused practicing is a central idea in my Ten Minute Virtuoso books. I recommend that beginners (and anyone having trouble practicing daily) play for 10 minutes a day, every day, instead of practicing for one or two hours once a week.

And, if you’re already practicing for multiple hours a day, try the 10-minute high-focus strategy and see if you have more breakthroughs in your playing. I bet you will have those breakthroughs.

To Your Musical Success!
David Motto

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Improve Your Ear

David Motto’s Practice Tip of the Week:
Four Ways to Improve Your Ear

Jazz, pop, and rock musicians play by ear on a regular basis. If you play these styles, you know how important it is to learn music by ear. Classical musicians rely on printed music and rarely learn a piece by listening to it.

I believe that all musicians would benefit from improving both skills. Just imagine if you could play by ear and you could also sightread charts. That would give you confidence and allow you to have more fun in every musical situation!

The Many Benefits of Playing by Ear

Among the many benefits of playing by ear are:

  • Memorizing music more quickly.
  • Matching the phrasing of other musicians.
  • Hearing parts besides your own.
  • Learning new genres of music.
  • Strengthening your ensemble playing skills.

It can be especially helpful to listen to recordings of a song you’re currently learning. You’ll hear the approach other musicians have taken with the dynamics and phrasing. You will also be able to hear the music in your mind if you return to your sheet music and practice without a recording.

What to Do in the Practice Room

All musicians can benefit from playing by ear, and your practice room is the perfect place to hone this skill. There is nobody there to judge you, and you can work at your own pace.

This is a perfect skill for you to use my Ten Minute Virtuoso method. In your practice room, for only 10 minutes a day, put on a recording and try one of more of these techniques:

1. Listen to the Melody
As you listen to the melody, find its first note on your instrument and play as much of the melody as you can. Don’t worry if playing the first phrase takes several attempts; it’s normal for this process to be difficult!

2. Practice in the Key of the Song
Play scales and arpeggios in the key of the music you’re hearing. Get used to the specifics flats and sharps you’ll need to control in that key. Feel what it’s like to play these notes while really listening to them.

3. Match Phrasing
Carefully match the phrasing of the musician you hear on the recording — even if they’re playing an instrument different than yours. Being able to hear these nuances and create those sounds yourself is a very powerful skill.

4. Pick Out Other Parts
Try to pick out parts you normally would not play, Play these parts like you’re playing a melody.

Playing by Ear is Freeing!

We must remember: Music is sound. It is not ink printed on a piece of paper.

Playing by ear connects you to this sound and frees you from the rigidity and imprecision of music notation. Plus, it’s fun and empowering to hear something and be able to play it back on your instrument.

To Your Musical Success!
David Motto

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Help Your Memory – Write It Down

David Motto’s Practice Tip of the Week:
An Easy Memory Aid

Successful Musicians Write Notes to Themselves

Some musicians treat their sheet music like an ancient manuscript to be displayed in a museum. They keep it in perfect, pristine condition.

Sheet music is just a tool to help you learn faster. And, tools rarely stay in brand-new condition when used.

Writing in your music is one of the best ways to use sheet music to help you progress as quickly as you can. (If you can’t stand the thought of marking up your music, then make a copy for all of your written notes and keep the original in mint condition.)

Don’t read music? You’ll still find it extremely helpful to write down musical reminders to propel your practicing forward. Use a notebook, my Musician’s Practice Planner, or anything else that works for you.

What to Write Down

There are several items to write down so you have reminders that keep you on track to meet your musical goals:

1. Tough Stuff
You need to clearly define the small areas of difficult music that will need to be worked on. Use a very light pencil mark to circle these sections. Once you have mastered a section, erase your pencil marking.

2. Technical Stuff
Put in fingerings, breath marks, pedaling, shifts, positions, etc. These markings will constantly guide you as you play through your music.

3. Phrasing
Write down dynamics, emphasis marks, and any phrasing ideas you have.

4. Questions
When you practice, questions probably come up. Write them in the music so you can get them answered by your teacher, colleagues, or by doing your own research.

5. Encouragement
Seeing words of encouragement to yourself in your music can have a wonderfully dramatic effect when you play a song.

Jog Your Memory

All five of the above have one thing in common: They help your memory. What you write today will jog your memory tomorrow!

With these reminders in your music, your upcoming practice sessions will be much easier and much less frustrating than if you try to remember everything you did today.

So, keep a pencil on your music stand and use it frequently.

“What Do You Mean – Pencil?”

I know this week’s Practice Tip will sound old-fashioned if you are using iPads, smartphone, YouTube, and other digital tools to read music, listen to recordings, and take lessons.

Whether you’re using paper and pencil or utilizing digital charts while giving voice memos to yourself on your phone, the idea is the same:

Do not trust your memory if you want tomorrow’s practice session to be as effective and efficient as possible. We all need written notes to stay on track!

To Your Musical Success!
David Motto

Posted in Achieving Goals, Memorization, Music, Music Practice Tips | 2 Comments

The Secret to Sightreading

David Motto’s Practice Tip of the Week:
The Secret to Sightreading

Many musicians are worried that their sightreading skills are not strong enough. Yet, sightreading is seldom made a regular part of practicing.

The Real Goal of Sightreading

It’s important to spend a little time at each practice session reading something new. (You won’t be surprised to hear this, but I recommend 10 minutes a day.)

Don’t worry about getting every note. Playing all the pitches perfectly is not the real goal of sightreading. The real goal is to go through the music at a steady tempo – without stopping.

Think about it: In the real world of rehearsing and performing with other musicians, everyone needs to know where they are on the chart at all times. You and all the other musicians have to end up at the same place at the same time – even if you missed a few notes!!

The Secret to Sightreading without Stopping

The secret to playing without stopping is constant counting. If you can’t play the notes in one measure, just keep counting and jump back in at the next downbeat. Do not lose your place!

Even if sound stops coming out of your instrument, you are staying in time and following along visually. This counts as “not stopping” when you’re sightreading, so keep your eyes on the page!

Being willing to count even when you’re missing some notes may mean changing your usual concept of playing a song “correctly.” Instead of focusing on playing the right pitches (even if you occasionally stretch time), you’ll need to focus on correct rhythms (even if you occasionally play the wrong pitches).

Keeping this rhythmic integrity in your music will make your sightreading stronger over time. Eventually, you’ll be able to play more and more of the pitches themselves.

Why Sightreading Seems So Complex

Sightreading is an unusual process. Unlike reading language, in which your only task is to interpret the meaning of symbols (letters and words) on the printed page, sightreading music contains an extra element:

Your brain must interpret the symbols (notes) and send messages to your muscles so they can play your instrument.

This is a complicated process. To keep your muscles in shape for sightreading, they need regular practice. Much like speaking a foreign language, sightreading is a “use it or lose it” skill.

So, keep some sightreading materials in your practice area and take a look at them every day.

And, remember: Never stop counting!

“But I Don’t Read Music”

I hear from a lot of rock, blues, and folk musicians who tell me that reading music is irrelevant to them. They play everything by ear and don’t see how reading sheet music could help them be better musicians.

What I’ve found working with thousands of musicians, ensembles, and bands in every genre is that seeing music on paper – whether it’s traditional notation, chord charts, or tablature – can help musicians understand the structure of songs and help them play rhythms accurately.

Plus, there are a lot of great teaching materials that use music notation. If you can’t read music at all, you’re missing out on some very helpful information.

My Advice to All Musicians – in Every Genre

I take a specific stand: Pop and jazz musicians should learn to read, and classical musicians should learn to play by ear and improvise. That way, everyone gets the best of both worlds.

Anything you do musically that makes you uncomfortable can only lead to musical growth. Constant growth and improvement is always the goal for our musical journey.

To Your Musical Success!
David Motto

Posted in Music, Music Lessons, Music Practice Tips, Sightreading | 4 Comments

Practice First

David Motto’s Practice Tip of the Week:
Making Time for Music

Too Busy to Practice?

If your life is busy, you may find it challenging to “fit in” your practice sessions. Day after day, practicing can take a back seat to other tasks: paying bills, homework, business travel, commuting, shopping for groceries, etc.

Here’s the solution: Practice first.

That’s right. Do your practicing before any of your other activities.

When you do, something miraculous happens. You still have time to finish everything else on your to-do list, and you practiced! That’s much better than skipping your music to do the more mundane things in life.

Effectively Using This Strategy

For some people, this means practicing first thing in the morning. Others might need to practice immediately after work—before returning emails or making dinner or checking that text or logging onto Facebook.

Students can benefit from practicing immediately after school, before homework gets started and definitely before any social media or free-time activities.

This practice tip is one of the most powerful ones around. Don’t underestimate its power! It helps procrastinators and helps people who never feel there’s enough time for their music.

Amazingly, if you follow this advice, you’ll still have time for your non-music responsibilities. It’s as if finishing your practicing gives you more energy and allows you to get everything else done more efficiently!

Benefits in the Rest of Your Life

Plus, there are psychological benefits: You will feel better about yourself, about your day, about your accomplishments, and about your commitment to something you believe in that makes your life better.

And you know that guilt you feel when you skip doing your music? That terrible feeling will be eliminated from your life!

Your practicing deserves to be put ahead of other day-to-day tasks. Try practicing first—even if it feels uncomfortable. The laundry and mowing the lawn can wait!

To Your Musical Success!
David Motto

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