Andre Jones

Applied Flute

Dr. Andrea Loewy

December 1, 2016

The Musicians Way

Chapter One- Getting Organized

Practice is the deliberate, creative process of improving musical ability and mastering music
for performance. I like this!

Your practice room or space should optimize productivity and be equipped with
the tools necessary to enable efficient practice.
Equipment such as uncomfortable chairs and poor lighting and the misuse of a
metronome can all affect the time effectiveness of a rehearsal
Always seek to disable distractions before you begin your practice sessions.
Phones, computers, electronic devices and friends are to be excluded from your
practice space.
The practice space should be your designated practice temple. Before entering this
musical temple, leave stress, relieve tension and breathe deeply before you begin
the artistic and creative music making process.
Write down practice plans and objectives to help keep track of the goals you set.
A practice sheet is a good example of how students and even professionals can
keep track of their progress and dividing the practice among each item on the list
can create greater efficiency.
It is important to schedule practice sessions to ensure that you practice regularly.
Planned sessions help musicians to improve gradually and live a more balanced
life as a musician but be sure to include breaks in practice sessions to avoid
fatigue and futile repetition with a tired and unfocused mind.
 Self-recording should be worked into practice sessions once every so often. This
will eliminate distorted perceptions and give students a better idea of what to
work on in practice sessions especially on pieces and etudes.

Chapter Two- Practicing Deeply

He inner voice has both gentleness and Clarity. So to get authenticity, you really keep going
down to the bone, to the honest and inevitability of something Meredith Monk, Singer and
Composer

The practice session of a musician must be one done with ease in order for the
performance to sound easy to the audience and listener. A student musician should learn
that a performance will be executed in the same way the practice was, therefore ease does
not come through struggle but instead ease is practiced.
Expressiveness in performance comes through practice as well but it starts with
everything as small scales and tone exercises. Student musicians are invited to use their
imaginations and use shapes and colours when asked to be expressive but also be sure to
understand every word and marking on a piece of music to execute expression to its full
extent.
Aim to eliminate the process of messy run throughs of new pieces and etudes when
learning them. Practice pieces slowly and aim for the highest level of accuracy. Doing
this will shorten the amount of time needed to spend learning new material and also make
the learning process easier.
Being able to express rhythmic expressions is not only important for timing in a music,
rhythms can also help to drive phrases and offer more variety for expression in a piece of
music.
Practice sessions should include experimentations with your sound. The sound should
always be full and rich and over time you should develop different shades of colours
using your tone in the various works and pieces that you study.
Discipline yourself in practice to have a steady and focused mind that you will have the
same attitude on stage for a performance. Whatever you practice in your sessions will
 become your subconscious expressions in performance. A positive attitude and focused
mind must be rehearsed like the music itself.
The method of mental imaging is very insightful and unique. Student musicians
(particularly myself) would learn music, give meaning to it and expressive it better and
faster should this method be applied to musical studies.
Warming up before performance and practice sessions prepares the body as well as the
mind for intense musical adventures which should all be tackled with ease.

Chapter Three Practicing Deeply two

Creating an aural model of a new piece in your head is vital for musicians who have yet
to reach the stage of looking at a piece and hearing it in their head. This technique
requires students to listen to multiple recordings with the musical score and begin to form
opinions regarding the interpretation of the piece without even playing it.
Advanced research on a new piece is necessary as this research will help stylistically,
expressionistically and musically where it concerns ornamentations and embellishments
the piece of music.
Score preparations are an important aspect of practicing. This brings the musician to
acknowledge and translate foreign texts, number measures, realize key changes, tempo
markings and pick out difficult passages without picking up the instrument to play
through the music
An harmonic analysis of a piece can help to identify the colours and tone quality that is
expected on a particular piece. This might even bring to the attention of the musician that
the piece requires a variety of tone colours in different passages.
Rhythmic analysis of a piece will definitely help to reduce the difficulty of a piece or at
least eliminate one form of difficulty in a piece. Conducting and vocalizing a piece of
music while keeping a steady pulse by tapping the foot or with the use of a metronome
can be instrumental in understanding the rhythmic gestures and contours of the phrases
intended by the composer.
Though repetition can be boring and tasteless, musicians are encouraged to do it, but with
expectations for growth each time and imaginative and artistic difference each time. The
 main aim of repetition is to make a passage easier and more fluid in the mind and fingers
of a musician.

Chapter Four- Practice Deeply 3

Aim to refine your pieces by recording yourself and analyze your sound, expression and
interpretation on the piece
Having a regular or occasional coaching session with an experienced musician is always
a plus as they would have studied and or performed the piece being work on.
Invent exercises to help with the difficulty of a piece. Some primary methods would
include manipulation of the tempo, articulation and rhythm to break the difficulty and
make said passage easier to understand.
In most cases musicians are choose their own music to perform and so it is advised that
we try to remember why we perform and play these pieces when faced with difficulty as
thins might help to rekindle the bond and love for the piece of music
Musicians are advised to turn the breaks from practice sessions into active ones where
we only rest the instrument being practiced and turn to another form of musical element
such as rhythm and focus on that much during this break.
Restorative breaks are also advised to relieve tension the body might have acquired
through standing or sitting during practice. A variety of exercises are suggested to help
the body as well as the mind to relax and let go of tension

Chapter Five- Building Technique

Building a good technique requires an organized well thought out plan that must include
good practice sessions and performance skills.
Make a list of techniques known to you and ensure that those techniques are worked on
throughout practice sessions over a particular period and repeated
Aim for an attitude of excellence when practicing technique. Each time you go over a
particular technique, it should be less flawed than the last. Improvement and growth is
necessary, it is the reason practice.
 A strong technique encompasses expressiveness, accuracy and rhythmic vitality among
other key elements of music making.
Focused attention and a positive attitude are also important to technical growth but the
key element is to remember that technique and technical progress are best when not rush
but developed over time.
Dissecting exercises and treating them as if they are pieces are good habits to practice but
they also help us to get the most out of these exercises and usually cover more technique
than we actually realize
Sight reading is an important part of the music world and it is also a huge determining
factor in musicians being hired. Practice sight pieces of music varying from easy to
difficult, but always challenge yourself with something a little more difficult each time.
Turn your emotions into your energy and be productive. Use emotions as fuel to propel
your motivation as a musician instead of succumbing to those emotions.

Chapter Six- Musical Collaborations

Professionalism is key to collaborative work whether artistically or not. Musicians should

be able to be civil towards each other even in practice sessions to reflect that unity and
expression through the performance.
Collaborative work thrives on preparation and respect for each others time and effort
Interaction among members of a collaboration is dependent upon each person willingness
to be civil, patient, logical and willing to approach situations both good and bad
appropriately.
Being the leader of a collaborative group entails responsibilities that goes beyond that of
fulfilling personal needs but to those of the group at large. Said leader is expected to
provide scores, decide on technical directions, pencil in metronome markings before
distributing scores etc A good leader will lead the group in discussions and take charge
in disagreements and makes the best decision for the ensemble while taking every one
and their concerns into consideration.
Like a solo performer, a collaborative group needs to rehearse strategically but on a
higher level as chances of wasting time increases with each member of the ensemble. A
 strategy for rehearsals must be arrived upon preferably by the leader of the group to
maximize work covered during practice session
Being able to laugh together is a good indication that work can be done together and
transmit positive energy to the audience when it is time to perform.
Develop subtle cueing skills among the collaborative ensemble to eliminate counting and
loud obvious gestures. This also tends to show how well musicians work together and
feed off each others energy

Chapter Seven- Unmasking Performance Anxiety

Anxiety on musicians are experienced mentally and in most performers both mentally
and physically.
The physical aspects causes the performer to tremble, have the urge to urinate, heavy
perspiration, have muscle tension and worse of all develop severe technical insecurity.
The performer that experiences more mental insecurity will be fearful, in a state of panic,
agitation, hypertension, angry, confused or suffer from memory lapse.
Developing the appropriate response to the stress of anxiety include building self-
confidence and confidence in the skills honed in practice, i.e. technique.
Self-evaluation is necessary as a musician and artist as we most times tend to be out
biggest critic and judge ourselves harder than most people ever will. Self-evaluation not
only helps artists improve, but it is proven that critical thinkers and evaluators experience
less emotional disturbances and as such can think clearer and more freely.
Avoid over estimating yourself and choose repertoire that is within capability. Trying to
perform a piece that requires a higher level of technique when you have only mastered a
mid-level technique leave mental space for doubt which leads to fear and anxiety during
performance.
Reinforcing performance habits ensures that the mind is steady and prepared to do
something that it has practiced several times before. Avoid but yourself through a new
process during a performance, ensure that your performance is a practiced routine being
replayed.
Chapter Eight Becoming a Performing artist

An artist should always prepare and be on time when preparing. Being prepared
artistically, technically and mentally prepared are vital for avoiding nervousness and
crashing before the actually concert begins
As a concert approaches it is important that adequate meals, rests and rehearsals are
scheduled to meet the needs of a well-balanced life and avoid a mental break down
before the concert.
Personal attire and grooming is important. This is where you make the first impression to
your audience before they even hear your first note in most cases.
Socializing helps with participating members of the performance. Communicating style
and being at ease together before the performance helps things to flow
Having snacks and water back stage is important especially in a case of nervousness
which can cause the mouth to be dry. Avoid performing on an empty stomach but never
on a stomach filled to maximum capacity or anywhere close.
Find a quiet space and do nothing but breathe and collect yourself should you feel
scattered and uneasy. Deep breathing is highly recommended

Chapter Nine

Stage attire of performers are expected to amaze the audience almost as much as the
music or performance
Performers are expected to enter, exit and be present with excellent posture on stage. The
gestures and body language should be proud and by all means confidents.
Bowing is considered to be the gratitude shown to the audience for their
acknowledgements.
Setting up and arranging before the concert will give some peace of mind even though
there may be someone assigned to do the setting up. As a performer it can be un nerving
trying to perform with instruments that do not line up in pitch.
Avoiding turning your back to the audience on the stage
 During the performance the performer should engage the audience and keep their
attention with high intensity from the first piece going down to the last. There should be
eye contact and some form of communication with the audience
The final performance should be a heightened in terms of intensity. The notes in the
finale should be most resonant, articulated and more intense volume.

Chapter Ten- Becoming a Performing Artist

It is ok to make errors and understand that they are not failures. Errors are mistakes that
show that the performer does not have a firm grasp on a particular passage or phrase in
the music.
Errors in music are informing us that there is more work needed and there is nothing to
be ashamed of.
Once an error is made in a passage, it is vital that the performer does not stop the music
but keep persevering to the very end with minimal tension and a positive attitude.
Never become fixated on mistakes because that will only result in more mistakes being
made.
Try to recover to errors with confidence and expressiveness which will both work cover
the fact that the mistakes were every made.
It is just as important to warm down after a performance as it is to warm up before.
Performers are advised to interact to help release the tension then eventually within hours
to a few days after, assess the performance but be sure to move on.

Chapter Eleven- Performing Like a Pro

A memorable performance includes an appropriate setting, a great performer and well

prepared and presented music
Knowing your audience can help you prepare your music to suit them. A concert and its
music is only good if the audience can enjoy and related to them.
While trying to please your audience it is also important to choose music that you can
handle or music within the scope of your technique.
 Know how to spread your energy on a concert program, especially one that is divided by
an intermission. The first half should end with some excitement to keep the audience
looking forward to the second half that should be filled with excitement.
End the program on a high note. Take note of the audience after the performance and try
to get an understanding of what they are feeling. Asses the concert and evaluate your
performance, the venue, the program your stage presence and the rising intensity of the
first piece of the second half to the end

Chapter 12 Injury Prevention

Learn to work within your bodily capacity, the body can only withstand so much practice
without rest. There is a difference between pushing the boundaries of what you are
accustomed and overusing the body. Overuse results in tissue damage
Avoid misusing the body with incorrect postures and other activities outside the realm of
music.
Though there are few dealing with music, musicians are prone to accidents music related
and non-related which can cause a shorten lived musical career.
Hauling gears and other equipment used to transport instruments. Musical equipment
such as sound, stands, stand racks and percussion tools are definitely the biggest threats
to musicians where accidents are concerned.
Performance stress tends to get the best of performers who then become prone to
accidents and misfortunes
Always listen to your body when it shows signs of stress especially as a performance
draws closer. Pain, fatigue and uncommon sensations are usually your body making
request for rest and meditation in some cases.

Chapter Thirteen Injury Prevent

Ensure a balanced sitting position so that your body is resting comfortably on the sitting
bones. Sitting on the edge of the chair with an upright back is the most recommended
sitting position for every musician
Keep hips positioned higher than knees
Release the shoulders and allow them to rest comfortably without tension
 Align and lengthen your spine. (recommended exercise is sitting on a floor with back
against the wall as straight as possible and no tension)
If you are a singer stand firm and supported. Stand as if you are a tree deeply rooted in
the ground with spine straight and shoulders released and free of tension.
Practice the posture in mirror or with a fellow musician or a coach and have them assess
your posture whether you are sitting or standing.

Chapter Fourteen Succeeding a Student

It is important to choose a good teacher who will pass on good habit and wisdom that you
can hopefully pass on to students should you decide to become an instructor. A good
teacher is optimistic, trust worthy and purposeful.
A good teacher should be able to communicate with you effectively and likewise you the
teacher.
Your teacher should be an active learner as well as an educator. A good teacher never
stops learning but the student should always be receptive and can voice concerns to the
teacher because only then can the teacher student relationship be embraced and
expressed.
Have an open mind and appreciation for criticism as musicians and artists alike will be
criticized throughout their entire career. However, criticisms are the basis for which
musicians can evaluated themselves through the opinion of the audience.
All criticisms are not going to be good but they should not be feared.