How to practise, part 4: Bringing it all together This is the final part of how to practise – we’ve already dealt with how to get your brain back on…
How to practise, part 4: Bringing it all together
This is the final part of how to practise – we’ve already dealt with how to get your brain back on track, refine your posture, find the right teacher and track your practice. This post deals with the actual nuts and bolts of the practice regime and how to manage your time in the best way possible.
We’re going to stray into the what of practicing, but I’ve tried not to be too prescriptive, because chances are that we’ve never met and I don’t know what your musical goals are. I’ve used my own practice routine as an example, but your own situation will be unique – take the concepts outlined here and adapt them to your own musical needs.
1.Find Your Own Space
Allocating a separate physical space that is dedicated to nothing but music is vital for effective practice – the usual scenario is that our musical lives get shoehorned into 2 square feet in the corner of a bedroom, your amp doubles as your coffee table, or your family has banished you to the garden shed because they’re sick of the incessant metronome beeping. In general, it’s hard to devote space to musical pursuits, but I find that having the physical separation from everyday life provides a better working environment for practising and also affords much needed mental separation from everything else that might be going on in your life.
2.Get Rid of Obstacles
Related to the idea of carving out your own practice space is the notion of making the act of practising as easy as possible – having to unpack all your gear from various cases and plug everything in not only uses up valuable minutes but also presents a psychological barrier to practice; it might well be less effort to turn on the TV instead of setting up your amp and getting down to work.
To that end, there are some strategies to remove physical barriers to practice:
- Keep your bass on a stand (or wall hanger) that’s clearly visible – this serves as a reminder of what needs to happen if you have spare time, and it means that you can begin the work almost instantly.
- I’ve given up using an amp to practise when I’m at home – I either play unplugged or use a Vox Amplug and play through headphones. The Amplug doesn’t sound great, but it’s cheap, makes my bass clearly audible and has an aux cable input in case I need to run a click or play along with tracks (I am not affiliated in any way with Vox and other headphone amps are available!).
The importance of being able to concentrate for more than 10 seconds at a time without checking your phone cannot be overstated. If you haven’t already seen the blog post/video ‘Your Brain is Rotten’, then this should be your first port of call:
4.Playing vs. Practising
An important thing to clarify in your mind before you start designing a practice routine is the distinction between practising and playing:
- Practising is the act of taking something that is currently outside of your comfort zone and learning it on the instrument until it becomes comfortable; this might include working out note names, fretboard positions, fingering options and repeating an idea ad nauseam until a desired tempo is reached.
- Playing is putting things that you have previously practised into a practical context, possibly using drum loops, backing tracks or (preferably) another musician.
Striking a balance between these two areas is very important; if all you do is practise, then you know lots of things but can’t apply them in real time, making them largely redundant. If all you do is play, then your playing becomes stale because you’re still playing the same old pet licks over and over again.
5.Time Management: ‘Chunking’
During my stint at music college, I tried to get to every masterclass or clinic that was put on, regardless of whether it was a bass player or not; I actually found Dave Weckl spending almost 30 minutes talking about the angle of his snare riveting.
One of the best pieces of advice I got from a masterclass was this nugget of information from Todd Johnson; the rest of the clinic was not to my taste, but this made up for it:
Only practise for 15 minutes at a time.
That’s it. Pure gold. Now, to be clear, he wasn’t suggesting that 15 minutes is the total practice time per day, rather that your practice time should be divided up into 15-minute ‘chunks’ of deeply focused work interspersed with small breaks of 2-3 minutes.
There’s more detail on the ‘chunking’ process in the video above for those that might be curious. I immediately found that switching to this method of practice allowed me to reach a greater total volume of practice time each day and also helped me retain information better from day to day since I wasn’t burning myself out by slogging away on one idea for an hour.