Archive | Deliberate Practice

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Practice Between Comfort and Panic

(The Attributes of Deliberate Practice: Design and Intention) How many times have you ambled into your practice room, setup your instrument, gotten yourself situated, and then thought, “Okay…now what?” Yep — same here. That used to happen to me far too often. And here’s the bad news: whatever might happen after that, it’s not deliberate practice. That’s because one of the defining attributes of deliberate practice is that it’s designed. It’s planned out in advance, thoughtfully and intentionally, with a sense of both where you’re going and how you get there. It is not random. It is not haphazard. And it […]

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The Deliberate Practice Book Club

An Avalanche of Understanding Back in 2008, I read a book that changed my life. It’s called Talent is Overrated, written by Geoff Colvin, and it’s partially based on Anders Ericsson’s research. In my previous post, I described this event as “my third inflection point,” in which I began working with John Tafoya, he recommended the book, and I subsequently embraced its practice methodologies under his guidance. That process was tremendously influential. It radically accelerated my improvement, and pointed my trajectory much higher. I want to dive more deeply into that experience, and the related books that came after Talent is […]

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I Don’t Care How Good You Are — I Care About the Trajectory You’re Willing to Set

I was not born talented at the timpani To wit, there’s Mrs. Gustafson’s entirely accurate assessment. I was definitely weak due to lack of consistent practice. I was not a committed music student. This is partly because my entire career as a timpanist traces back to random occurrences. The first was in 1988: “Beverly Hills Cop” was in theaters, and for some reason my 4th grade music teacher created a version of its famous theme, “Axel F,” to play on his (then-brand new) Ensoniq synthesizer. I heard that tune and thought it was the coolest thing in the world. Neither […]

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A Process for Everyone: Teachers, Freelancers, and Big-Job Auditioners

Audience calibration can be difficult. Being an opera timpanist is, to put it mildly, a very specific niche. But one of my aims with this blog overall is to use my specific experience to extract and extrapolate principles that are universally applicable. So, reader, who are you? If you clicked your way here, you might be a percussionist at a conservatory, or an auditioning instrumentalist, or a dedicated music enthusiast. (Feel free to comment below!) Maybe you saw a facebook post, are on the mailing list, and/or have already read some of the other things I’ve written. And so this […]

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Well-Documented Failure

One of the funny things about being a former scientist in the orchestral field is encountering musicians’ perceptions of a “scientist.” Among people already in scientific fields, this really isn’t something that ever comes up — we intuitively understand the basics of what we do, and the day to day machinations of our jobs. And this cuts both ways: among orchestral musicians, there are lots of things we can assume as understood when it comes to the rhythms of our lives that are non-obvious to outsiders. Thankfully, I see a growing number of orchestral musicians keenly aware of the need […]

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