Musicians Practice Quotes

Artists use frauds to make human beings seem more wonderful than they really are. Dancers show us human beings who move much more gracefully than human beings really move. Films and books and plays show us people talking much more entertainingly than people really talk, make paltry human enterprises seem important. Singers and musicians show us human beings making sounds far more lovely than human beings really make. Architects give us temples in which something marvelous is obviously going on. Actually, practically nothing is going on.

But the problem with readers, the idea we're given of reading is that the model of a reader is the person watching a film, or watching television. So the greatest principle is, "I should sit here and I should be entertained." And the more classical model, which has been completely taken away, is the idea of a reader as an amateur musician. An amateur musician who sits at the piano, has a piece of music, which is the work, made by somebody they don't know, who they probably couldn't comprehend entirely, and they have to use their skills to play this piece of music. The greater the skill, the greater the gift that you give the artist and that the artist gives you. That's the incredibly unfashionable idea of reading. And yet when you practice reading, and you work at a text, it can only give you what you put into it. It's an old moral, but it's completely true.

It hurt me to be away from him. Some days I went crazy wondering what he was doing. And when I couldn't handle it, I practiced music. I really had Aspen to thank for me being the musician that I was. He drove me to distraction. And that was bad.

Control over consciousness is not simply a cognitive skill. At least as much as intelligence, it requires the commitment of emotions and will. It is not enough to know how to do it; one must do it, consistently, in the same way as athletes or musicians who must keep practicing what they know in theory.

No athlete, no scientist, no musician ever got better without focused practice, and there is no program you can download for that. It has to come from within.

Meditation practice is like piano scales, basketball drills, ballroom dance class. Practice requires discipline; it can be tedious; it is necessary. After you have practiced enough, you become more skilled at the art form itself. You do not practice to become a great scale player or drill champion. You practice to become a musician or athlete. Likewise, one does not practice meditation to become a great meditator. We meditate to wake up and live, to become skilled at the art of living.

That’s why signing kids up for piano lessons or sports is so important. It has nothing to do with creating a good musician or a five-year-old soccer star,” said Heatherton. “When you learn to force yourself to practice for an hour or run fifteen laps, you start building self-regulatory strength. A five-year-old who can follow the ball for ten minutes becomes a sixth grader who can start his homework on time.

Write all the time. I believe in writing every day, at least a thousand words a day. We have a strange idea about writing: that it can be done, and done well, without a great deal of effort. Dancers practice every day, musicians practice every day, even when they are at the peak of their careers – especially then. Somehow, we don’t take writing as seriously. But writing – writing wonderfully – takes just as much dedication.

For Christians to influence the world with the truth of God's Word requires the recovery of the great Reformation doctrine of vocation. Christians are called to God's service not only in church professions but also in every secular calling. The task of restoring truth to the culture depends largely on our laypeople. To bring back truth, on a practical level, the church must encourage Christians to be not merely consumers of culture but makers of culture. The church needs to cultivate Christian artists, musicians, novelists, filmmakers, journalists, attorneys, teachers, scientists, business executives, and the like, teaching its laypeople the sense in which every secular vocation-including, above all, the callings of husband, wife, and parent--is a sphere of Christian ministry, a way of serving God and neighbor that is grounded in God's truth. Christian laypeople must be encouraged to be leaders in their fields, rather than eager-to-please followers, working from the assumptions of their biblical worldview, not the vapid clichés of pop culture.

Aha, I thought. Even among the pandai there were frustrated musicians. Amax suddenly reminded me of my father, Zeus, when he came storming down the hallway on Mount Olympus (literally storming, with thunder, lightning, and torrential rain) and ordered me to stop playing my infernal zither music. A totally unfair demand. Everyone knows 2:00 a.m. is the optimal time to practice the zither.

Having a moment of clarity was one thing; I'd had moments like that before. It had to be followed with a dedicated push of daily exercise. It's a trite axiom, but practice DOES make perfect. If you want to be a strong swimmer or an accomplished musician, you have to practice. It's the same with sobriety, though the stakes are higher. If you don't practice your program every day, you're putting yourself in a position where you could fly out of the orbit one more time.

Musicians, like golfers, have to put their minds in the right place – trusting, confident, enjoying the pressure, being in present. And so forth. Otherwise, no amount of practice or “Time management” will make them better. The same is true in all professions: if you’re stuck in the Training Mindset, evaluating yourself, or thinking in the past or future, you will not perform up to your potential. You will waste a lot of time, be an inefficient performer, and likely assume you need to manage your time better. In reality you need to manage your thinking better.

There’s a huge difference between the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever. No one understands us

Bill Gates is said to be Aspergian. Musician Glenn Gould is said to have been Aspergian, along with scientist Albert Einstein, actor Dan Aykroyd, writer Isaac Asimov, and movie director Alfred Hitchcock. As adults, none of those people would be described as disabled, but they were certainly eccentric and different.

You’ll never truly know how strong your spiritual practice is until you’re faced with your own mortality. Until you’re faced with an incurable disease, and you realize that the greater battle is not one of body, but the one in your mind.

Creators create. Action is identity. You become what you do. You don’t need permission from anybody to call yourself a writer, entrepreneur, or musician. You just need to write, build a business, or make music. You’ve got to do the verb to be the noun.

If once he has got the right fingering, plays in good time, with the notes fairly correct, then only pull him up about the rendering; and when he has arrived at that stage, don’t let him stop for the sake of small faults, but point them out to him when he has played the piece through. . . I have always adopted this plan; it soon forms musicians which, after all, is one of the first aims of art and it gives less trouble both to master and pupil.

Learning, empowering, studying, practicing, and not repeating the same mistakes will help you move forward, move up, and move on to where you want to be.

Amateur musicians, for example, are more likely to spend their practice time playing music, whereas pros are more likely to work through tedious exercises or focus on specific, difficult parts of pieces.

I wrote every day throughout my twenties. For a while, I had a boyfriend who was a musician, and he practiced every day. He played scales; I wrote small fictional scenes. It was the same idea - to keep your hand in your craft, to stay close to it. On bad days, when I felt no inspiration at all, I would set the kitchen timer for thirty minutes and make myself sit there and scribble something, anything. I had read an interview with John Updike where he said that some of the best novels you've ever read were written in an hour a day; I figured I could always carve out at least thirty minutes somewhere to dedicate myself to my work, no matter what else was going on or how badly I believed the work was going.

And the thing about jazz, through all the business involved in practicing and improvement, it's always sweet: the improvement that you notice in the ability to express yourself, the feeling of playing, pushing yourself out into an open space through a sound, man. That's an unbelievable feeling, an uplifting feeling of joy to be able to express the range of what you feel and see, have felt and have seen. A lot of this has nothing to do with you. It comes from another time, another space. To be able to channel those things and then project them though an instrument, that's something that brings unbelievable joy.

Rich Mullins, one of my favorite writers and musicians, said that when he was a kid he’d walk down the church aisle and be “born again again” or “rededicate” his life to Christ every year at camp. In college he’d do it about every six months, then quarterly; by the time he was in his forties it was “about four times a day.”3 Repentance is not usually a moment wrought in high drama. It is the steady drumbeat of a life in Christ and, therefore, a day in Christ.

The city of Paris, France, became a place of refuge for biracial Americans during slavery and at the time of the Harlem Renaissance for black musicians, fine artists, writers and others seeking opportunities to practice their craft free from American racism.

The most practical way to change who you are is to change what you do. Each time you write a page, you are a writer. Each time you practice the violin, you are a musician. Each time you start a workout, you are an athlete. Each time you encourage your employees, you are a leader.

While the concept of the muse is noteworthy, the development of the muse has changed substantially in today's online world. The tables have practically turned as the artist who is responsible for creating music in today's world is now being the muse to others. They have been responsible for the creation of "fan art," a style of performance where people create new forms of media based off of existing creations. It was originally that the muse was what prompted the artist to create something new. Today it has changed to where the artist is the muse to others in society.

What makes a man a good artist, a good sculptor, a good musician? Practice. . . . What makes a man a good man? Practice. Nothing else. There is nothing capricious about religion. We do not get the soul in different ways, under different laws, from those in which we get the body and the mind.

Precision and technique can be learned,” she told him. “That’s just practice. A lot of practice, but it’s still just practice. What we can’t teach is how to make a musician actually connect—emotionally connect—with the pieces he’s playing. To really care about the music, and let the music tell its story.

Child prodigies amaze us because we compare them not with other performers who have practiced for the same length of time, but with children of the same age who have not dedicated their lives in the same way. We delude ourselves into thinking they possess miraculous talents because we assess their skills in a context that misses the essential point. We see their little bodies and cute faces and forget that, hidden within their skulls, their brains have been sculpted—and their knowledge deepened—by practice that few people accumulate until well into adulthood, if then. Had the six-year-old Mozart been compared with musicians who had clocked up 3,500 hours of practice, rather than with other children of the same age, he would not have seemed exceptional at all.

Therefore it is to a practical mysticism that the practical man is here invited: to a training of his latent faculties, a bracing and brightening of his languid consciousness, an emancipation from the fetters of appearance, a turning of his attention to new levels of the world. Thus he may become aware of the universe which the spiritual artist is always trying to disclose to the race. This amount of mystical perception—this “ordinary contemplation,” as the specialists call it—is possible to all men: without it, they are not wholly conscious, nor wholly alive. It is a natural human activity, no more involving the great powers and sublime experiences of the mystical saints and philosophers than the ordinary enjoyment of music involves the special creative powers of the great musician.

Zeena Schreck is a Berlin-based interdisciplinary artist, author, musician/composer, tantric teacher, mystic, animal rights activist, and counter-culture icon known by her mononymous artist name, ZEENA. Her work stems from her experience within the esoteric, shamanistic and magical traditions of which she's practiced, taught and been initiated. She is a practicing Tibetan Buddhist yogini, teaches at the Buddhistische Gesellschaft Berlin and is the spiritual leader of the Sethian Liberation Movement (SLM).

Too many people think that speed is the hallmark of a good musician... how quickly you can finger notes is the smallest part of music. The real key is timing. It's like telling a joke. Anyone can remember the words. Anyone can repeat it. But making someone laugh requires more than that. Telling a joke faster doesn't make it funnier. As with many things, hesitation is better than hurry. This is why there are so few musicians. A lot of folks can sing or saw out a tune on a fiddle. A music box can play a song flawlessly, again and again. But knowing the notes isn't enough. You have to know how to play them. Speed comes with time and practice, but timing you are born with. You have it or you don't.

Try to listen as a musician might—not labeling the sounds but hearing them as music.

The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time

Loss, when it occurs, has memory stronger than the mind, stronger than visual recollection patterned in the brain. It’s something the flesh knows, the muscles know, like a dancer reciting a step done hundreds of times, like a musician playing a song or a scale after decades without practice. It’s something the body knows, something the body is aware of while the mind adapts, responds, reacts.

What makes a man a good cricketer? Practice. What makes a man a good artist, a good sculptor, a good musician? Practice. What makes a man a good linguist, a good stenographer? Practice. What makes a man a good man? Practice. Nothing else. There is nothing capricious about religion. We do not get the soul in different ways, under different laws, from those in which we get the body and the mind. If a man does not exercise his arm he develops no biceps muscle; and if a man does not exercise his soul, he acquires no muscle in his soul, no strength of character, no vigor of moral fibre, no beauty of spiritual growth. Love is not a thing of enthusiastic emotion. It is a rich, strong, manly, vigorous expression of the whole round Christian character—the Christlike nature in its fullest development. And the constituents of this great character are only to be built up by CEASELESS PRACTICE.

Music lives only in performance; only then does what we hear become real. Performing reveals everything we are able to show, and yet for this reason, the first time through, we often perform badly. And we yearn so deeply to go back again and correct our mistakes. Few yearnings are as profound in us, because the truth is, we cannot go back. Yet the fiction of practicing makes it seem as if we can, and this is enough to change our lives. Practice lets us grow in our own time, protected from the demands, the vitality and mortality, of each moment. Within the practice-room walls it often seems as if time really does stand still, as if we could always remain protected, practicing and improving forever. This illusion holds transformative power—but also a dangerous seduction. Practice, by itself, is a dream of perfection. Only performing can turn practice into shared life, where our own time may join with others’, becoming musical. Yet practicing is the necessary lie that lets us pause to collect ourselves. It is the inner life of performance, the inward turn that allows us to develop, to grow, to move forward having learned.

Secondary choices are always subordinate to a primary choice. Often there is no reason to make such choices outside the context of the primary choice that calls for them. Athletes and musicians may not enjoy practicing long hours, but they do so just the same; not out of duty, obligation, or any other form of self-manipulation, but because they are making secondary choices consistent with their primary choice to be able to perform music or excel at sports.

The chatter that filled the coffeehouse amounted to a kind of improvisation, like that practiced by musicians and comedy troupes. That form of conversation was far more conducive to generating good ideas than that staple of creativity consultants everywhere: brainstorming. Brainstorming sounds like a great idea, but it doesn’t work. Dozens of studies have demonstrated this conclusively. People produce more good ideas—twice as many—alone than they do together. One

You must be able to create in the middle of things, or else you will not create. You must learn to take whatever practical and psychological actions are necessary to combat the anticreating forces that surround you and live within you.

You can want, wish, and dream all day, but those that prepare, work, learn, practice, and problem-solve are the ones that find success in sports, business, music, or whatever. Back up what you want with doing the work it takes to get it.

There needs to be a process of reintegration, whereby we return to the experiential world again. The parts, once seen, are subsumed again in the whole, as the musician's painful, conscious, fragmentation of the piece in practice is lost once again in the (now improved) performance. The part that has been under the spotlight is seen as part of a broader picture; what had to be conscious for a while becomes unconscious again; what needs to be implicit once again retires; the represented entity becomes once more present, and ‘lives’; and even language is given its final meaning by the right hemisphere's holistic pragmatics. So what begins in the right hemisphere's world is ‘sent’ to the left hemisphere's world for processing, but must be ‘returned’ to the world of the right hemisphere where a new synthesis can be made.

A friend who is an accomplished musician once told me about the importance of practice in her field. She said, "If you don't practice for a day, you can tell. If you don't practice for two days, the accompanying musicians can tell. If you don't practice for three days, the audience can tell.

Jerry [Garcia] held his guitar and picked some random licks. I spoke from an LSD haze. 'LSD changes perception. Music transcends the musician. You are the vehicle for communication.' Garcia stopped and stared at me. 'I practice,' Garcia declared. 'Anyone can do that.' That shut me up and he returned to the guitar

Cora hoped the musicians wouldn't think them rude for their inattention. It was unlikely. Playing their music as freemen and not chattel was probably still a cherished novelty. To attack the melody without the burden of providing one of the sole comforts of their slave village. To practice their art with liberty and joy.

Traditions that cease to evolve render themselves irrelevant or obsolete. And what's the problem with inventing new performance practices? Are customs being slandered? Do successful alternative diminish the value of traditional ones? *The argument that musicians must embrace conventional rituals is just as perilous as unilaterally rejecting them.*

The advisors, on the other hand, were like older brothers and sisters. My favorite was Bill Symes, who'd been a founding member of Fellowship in 1967. He was in his early twenties now and studying religion at Webster University. He had shoulders like a two-oxen yoke, a ponytail as thick as a pony's tail, and feet requiring the largest size of Earth Shoes. He was a good musician, a passionate attacker of steel acoustical guitar strings. He liked to walk into Burger King and loudly order two Whoppers with no meat. If he was losing a Spades game, he would take a card out of his hand, tell the other players, "Play this suit!" and then lick the card and stick it to his forehead facing out. In discussions, he liked to lean into other people's space and bark at them. He said, "You better deal with that!" He said, "Sounds to me like you've got a problem that you're not talking about!" He said, "You know what? I don't think you believe one word of what you just said to me!" He said, "Any resistance will be met with an aggressive response!" If you hesitated when he moved to hug you, he backed away and spread his arms wide and goggled at you with raised eyebrows, as if to say, "Hello? Are you going to hug me, or what?" If he wasn't playing guitar he was reading Jung, and if he wasn't reading Jung he was birdwatching, and if he wasn't birdwatching he was practicing tai chi, and if you came up to him during his practice and asked him how he would defend himself if you tried to mug him with a gun, he would demonstrate, in dreamy Eastern motion, how to remove a wallet from a back pocket and hand it over. Listening to the radio in his VW Bug, he might suddenly cry out, "I want to hear... 'La Grange' by ZZ Top!" and slap the dashboard. The radio would then play "La Grange.

I decided to take my time getting ready, and looked cautiously at myself in the mirror while the shower warmed up. Could I ever become a musician’s muse? I wondered. What was a muse, anyway? I was familiar with the classical allusion, of course, but, in modern-day, practical terms, a muse seemed simply to be an attractive woman whom the artist wanted to sleep with.

(This sect (the Encyclopaedists) propagate with much zeal the doctrine of materialism, which prevails among the great and the wits; we owe to it partly that kind of practical philosophy which, reducing Egotism to a system, looks upon society as a war of cunning; success the rule of right and wrong, honesty as an affair of taste or decency: and the world as the patrimony of clever scoundrels.))

virtue, he said, is not just theoretical knowledge, it is also practical, like both medical and musical knowledge. The doctor and the musician must each not only learn the principles of his own skill but be trained to act according to those principles. Likewise, the man who wants to be good must not only learn the lessons which pertain to virtue but train himself to follow them eagerly and rigorously.

Some may see the tortured existence of the musician as one where he's practicing like hell and being alone, I see it quite differently. Having three children, beautiful as it is, burdens you with terrible things often, with strong decision and sleepless nights. Tis is real life. And then, of course - this is getting into very personal things- I see many ­­­­­­parts of me that are what would be called the "dark side". I had a happy childhood, but what was happening to my family, my parents, and also the dark tings that happpened-between them and where they come from, the war- there is a lot that i could not put in easy words. But it's what most of us carry. It's just whether you have the ability to voice it in the music, whether you allow yourself to be touched by thing , to be receptive to other people, to be in the pain of a composer.

It's a difficult path that we tread, us Indie self-publishers, but we're not alone. How many bands practicing in their dad’s garage have heard of a group from the neighbourhood who got signed by a recording company? Or how many artists who love to paint, but are not really getting anywhere with it hear of someone they went to art school with being offered an exhibition in a gallery? How many chefs who love to get creative around food hear of someone else who’s just landed a job with Marco Pierre White? There’s no difference between us and them. There is, however, a huge difference in how everyone else perceives the writer. And there’s a huge difference between all of us – the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen - and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever.

The news that she had gone of course now spread rapidly, and by lunch time Riseholme had made up its mind what to do, and that was hermetically to close its lips for ever on the subject of Lucia. You might think what you pleased, for it was a free country, but silence was best. But this counsel of perfection was not easy to practice next day when the evening paper came. There, for all the world to read were two quite long paragraphs, in "Five o'clock Chit-Chat," over the renowned signature of Hermione, entirely about Lucia and 25 Brompton Square, and there for all the world to see was the reproduction of one of her most elegant photographs, in which she gazed dreamily outwards and a little upwards, with her fingers still pressed on the last chord of (probably) the Moonlight Sonata. . . . She had come up, so Hermione told countless readers, from her Elizabethan country seat at Riseholme (where she was a neighbour of Miss Olga Bracely) and was settling for the season in the beautiful little house in Brompton Square, which was the freehold property of her husband, and had just come to him on the death of his aunt. It was a veritable treasure house of exquisite furniture, with a charming music-room where Lucia had given Hermione a cup of tea from her marvellous Worcester tea service. . . . (At this point Daisy, whose hands were trembling with passion, exclaimed in a loud and injured voice, "The very day she arrived!") Mrs. Lucas (one of the Warwickshire Smythes by birth) was, as all the world knew, a most accomplished musician and Shakespearean scholar, and had made Riseholme a centre of culture and art. But nobody would suspect the blue stocking in the brilliant, beautiful and witty hostess whose presence would lend an added gaiety to the London season.

I wonder... is this angst the engine of my life? Is this the reason why I've been able to touch people when I play music, when I speak from my heart, why I always go as hard and deep as I can?... If I was more happy and stable would I be a boring musicians? Before I learned about spiritual practice, disciple, thoughtfulness, self-love, and restraint, I stumbles and bumbled along through life, pushed this way and that be pleasure and pain. I'm still evolving.

The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any ‘naturals,’ musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any ‘grinds,’ people who worked harder than everyone else, yet just didn’t have what it takes to break the top ranks. Their research suggests that once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That’s it. And what’s more, the people at the very top don’t work just harder or even much harder than everyone else. They work much, much harder. The idea that excellence at a complex task requires a critical minimum level of practice surfaces again and again in studies of excellence. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.

I was thinking about Leon and our affinity for busyness, when I happened upon a book called In Praise of Slowness, written by Carl Honoré. In that book he describes a New Yorker cartoon that illustrates our dilemma. Two little girls are standing at a school-bus stop, each clutching a personal planner. One says to the other, “Okay, I’ll move ballet back an hour, reschedule gymnastics, and cancel piano. You shift your violin lessons to Thursday and skip soccer practice. That gives us from 3:15 to 3:45 on Wednesday the sixteenth to play.” This, I suppose, is how the madness starts. Pay close attention to the words Honoré uses to describe this fast-life/slow-life dichotomy. “Fast is busy, controlling, aggressive, hurried, analytical, stressed, superficial, impatient, active, quantity-over-quality. Slow is the opposite: calm, careful, receptive, intuitive, unhurried, patient, reflective, quality-over-quantity…. It is seeking to live at what musicians call the tempo giusto—the right speed.”* Which of those lifestyles would you prefer?

Control over consciousness is not simply a cognitive skill. At least as much as intelligence, it requires the commitment of emotions and will. It is not enough to know how to do it; one must do it, consistently, in the same way as athletes or musicians who must keep practicing what they know in theory. And this is never easy. Progress is relatively fast in fields that apply knowledge to the material world, such as physics or genetics. But it is painfully slow when knowledge is to be applied to modify our own habits and desires.

The balanced state of body and mind that occurs through zazen practice can also occur spontaneously in other situations. As a musician I used to find it when playing onstage. All consciousness of myself and the outside world would vanish, to be replaced by a fluid state of action alone, in which thought and feeling ceased to be important and in which sense of self and other utterly dissolved. Athletes often experience moments like this. So do artists of various kinds. So do many people involved in a whole range of activities to which they have fully devoted themselves. And so, quite often, do lovers engaged in sex.

It is possible, just as it is with the auditory training of musicians, to begin using the feeling sense actively. This will increase neuronal development in the hippocampal and the cardiovascular (heart) system and with practice, over time, increase sensitivity to tiny modulations in that sensory flow. Sensitivity to the tiniest shifts in feeling will develop, just as they do in musicians with sound complexes. And, with experience, the ability to determine the meanings inside those feelings will become a reliable skill. In other words, it becomes possible to immediately know the intent of the dog as soon as it is seen/nonkinesthetically felt.

Working Memory is the brain’s workspace, where you can hold and manipulate a handful of facts and figures in your head. The reason multiplying 36 by 42 in your head is so difficult is that your working memory has limits—and the older you get, the tighter your limits. That’s why mathematicians, musicians, and physicists tend to do their most important work when they’re young . . . and why once-simple tasks get progressively more difficult with age. This the type of memory, which facilitates multitasking and juggling life’s responsibilities, is the type of memory most healthy people want to optimize. Working memory plus creativity is the key to productivity.

As a musician, when you listen to music, it’s not a passive act; you’re fully engaged in the experience, almost swimming around in it, perceiving detail and depth that casual hearing just can’t pick up. The way musicians listen to music is both more intense and more purposeful than the way “normal” people listen, especially if you’re listening to music you love, or music you want to learn. Tabla player Rupesh Kotecha calls it intricate listening, New York Philharmonic trumpeter Ethan Bensdorf calls it active listening, free-improvising pioneer and composer Pauline Oliveros calls it deep listening. Whatever you call it, listening this intensely takes practice.

They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week—participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their musicrelated time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done.

They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week—participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done.

By contrast, the merely good students had totaled eight thousand hours, and the future music teachers had totaled just over four thousand hours. Ericsson and his colleagues then compared amateur pianists with professional pianists. The same pattern emerged. The amateurs never practiced more than about three hours a week over the course of their childhood, and by the age of twenty they had totaled two thousand hours of practice. The professionals, on the other hand, steadily increased their practice time every year, until by the age of twenty they, like the violinists, had reached ten thousand hours. The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any “grinds,” people who worked harder than everyone else, yet just didn’t have what it takes to break the top ranks. Their research suggests that once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That’s it. And what’s more, the people at the very top don’t work just harder or even much harder than everyone else. They work much, much harder. The idea that excellence at performing a complex task requires a critical minimum level of practice surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.

Her playing was slow, almost stately. Too many people think speed is the hallmark of a good musician. It’s understandable. What Marie had done at the Eolian was amazing. But how quickly you can finger notes is the smallest part of music. The real key is timing. It’s like telling a joke. Anyone can remember the words. Anyone can repeat it. But making someone laugh requires more than that. Telling a joke faster doesn’t make it funnier. As with many things, hesitation is better than hurry. This is why there are so few true musicians. A lot of folks can sing or saw out a tune on a fiddle. A music box can play a song flawlessly, again and again. But knowing the notes isn’t enough. You have to know how to play them. Speed comes with time and practice, but timing you are born with. You have it or you don’t.

Years ago, I produced a record for a very skilled duo. They were incredibly hardworking and committed to their art. In order to survive, they performed three hundred days a year, and they lived in a van, driving each day to a new town, playing at a local coffeehouse, sleeping in the van, then repeating it all the next day. In most towns, there are a few places like this—if you’ve issued a few CDs and are willing to work for cheap, you can get booked without too much trouble. These cafés are not good clients. Easy in, easy out, next! What I helped these musicians understand is that going from town to town and working with easy gigs was wasting their effort and hiding their art. What they needed to do was stay in one town, earn fans, play again, earn fans, move to a better venue, and do it again. And again. Working their way up by claiming what they’d earned: fans.

Remapping occurs regularly throughout the brain in the absence of injury. My favorite examples concern musicians, who have larger auditory cortical representation of musical sounds than do nonmusicians, particularly for the sound of their own instrument, as well as for detecting pitch in speech; the younger the person begins being a musician, the stronger the remapping.15 Such remapping does not require decades of practice, as shown in beautiful work by Alvaro Pascual-Leone at Harvard.16 Nonmusician volunteers learned a five-finger exercise on the piano, which they practiced for two hours a day. Within a few days the amount of motor cortex devoted to the movement of that hand expanded, but the expansion lasted less than a day without further practice. This expansion was probably “Hebbian” in nature, meaning preexisting connections transiently strengthened after repeated use.

He knew how the audition was going to affect their lives for the next ten weeks as she slowly lost her mind from nerves and the strain of trying to scrounge precious practice time from an already jam-packed life. No matter how much time poor Sam gave her, it would never be quite enough, because what she actually needed was for him and the kids to just temporarily not exist. She needed to slip into another dimension where she was a single, childless person. Just between now and the audition. She needed to go to a mountain chalet (somewhere with good acoustics) and live and breathe nothing but music. Go for walks. Meditate. Eat well. Do all those positive-visualization exercises young musicians did these days. She had an awful suspicion that if she were to do this in reality, she might not even miss Sam and the children that much, or if she did miss them, it would be quite bearable.

Here is New York. This is why I stay. I stay to hear the jazz musicians playing in the parks, and to browse the tables of books for sale on the street. I stay for a drink in a quiet bar, lit by golden autumn light, and for Film Forum double features in black and white. I stay for egg creams, for the amateur opera singers practicing with their windows open so we all can listen. For the Chinese grandmothers dancing by the East River, snapping red fans in their hands. For the music of shopkeepers throwing open their gates. I stay for the unexpected spectacle, and the chance encounter, and for those tough seagulls gliding inland on rainy days to remind us that Manhattan is an island, a potential space both separate and connected. Most of all, I stay because I need New York. I can't live anywhere else, so I hold on to what remains. We've lost a lot, but there's so much left worth fighting for. And while I stay, I fight.

Radically new spiritual movements are cropping up, notably the “atheist” practice of Syntheism. And musicians are creating stranger and stranger electrical sounds and rhythms, mixing them with strained voices, as if to underscore just how mysterious, yet peculiarly familiar, it all seems. And fashionable, tattooed young female DJ s play that music on the dance floor, and we dance under flashing lights into the darkness and get high and drunk and make out, as the reality we thought we knew is being torn down and we plunge into the sublime and the unknown. And far out into the desert, under the clear skies of that luminous, open blackness lit by perfect stars, we find each other in an intimate, loving embrace. Without the slightest effort we converse for hours and all of reality melts away as we let go of our inner shields and. become one. In that timeless moment of forgiving embrace we lose ourselves and find ourselves, both at once.

He paused and eyed her as if she were an agate discovered in gravel. "But what a very sharp tongue you have for a housekeeper." Bridget's heart sank- she knew better than to speak so frankly. It was never good for a servant to be noticed by a master- particularly this master. "Come." He beckoned her closer with his forefinger and she saw the flash of a jeweled gold ring on his left thumb. She swallowed and opened her right hand, silently dropping the miniature to the lush carpet. As she walked toward him she nudged the little painting under the enormous bed with the side of her foot. She stopped a pace away from him. His lips curved, sly and sensual. "Closer." She stepped nearer until her plain, practical black linsey-woolsey skirts were crushed against his purple velvet knees. Her heart beat hard and swift, but she was confident her expression didn't show her fear. Still smiling, he held out his hands, palms upward. His hands were long-fingered and elegant. The hands of a musician- or a swordsman. She stared down at them a moment, confused. He quirked an eyebrow and nodded. Bridget placed her hands on top of his. Palm to palm. She expected searing heat or deathly cold and was a little surprised to instead feel human warmth. She'd been hired little more than a fortnight before the duke had supposedly been banished. In that time he had never struck her as human- or humane. "Ah," His Grace murmured, cocking his head with interest. "What feminine hands you have, despite your station in life." His blue eyes flashed at her from under dark eyelashes, a secretive smile playing about his mouth. She met his gaze stonily. His lips quirked and he looked down again. "Small, plump, with neat, round nails." He turned her hands over so that they now rested palms-up in his. "I once knew a Greek girl who swore she could read a man's life story from the lines on his hands." He dropped her left hand to trace the lines on her right palm with a forefinger. His touch sent a frisson along her nerves and Bridget couldn't hold back a shudder.

The Armonica: Among the most amusing of his inventions was a musical instrument he called the armonica. It was based on the common practice of bored dinner guests, and some musicians, of producing a resonant tone by moving a wet finger around the rim of a glass. Franklin attended a concert in England of music performed on wineglasses, and in 1761 he perfected the idea by taking thirty-seven glass bowls of different sizes and attaching them to a spindle. He rigged up a foot pedal and flywheel to spin the contraption, which allowed him to produce various tones by pressing on the glass pieces with his wet fingers. In a letter to an Italian electrician, Franklin described the new instrument in minute detail. “It is an instrument,” he said, “that seems peculiarly adapted to Italian music, especially that of the soft and plaintive kind.” Franklin’s armonica was quite a rage for a while. Marie Antoinette took lessons on it, Mozart and Beethoven wrote pieces for it, and its haunting tones became popular at weddings. But it tended to produce melancholia, perhaps from lead poisoning, and it eventually went out of fashion.19

But if it is true that people have known for thousands of years what it takes to become free and in control of one’s life, why haven’t we made more progress in this direction? Why are we as helpless, or more so, than our ancestors were in facing the chaos that interferes with happiness? There are at least two good explanations for this failure. In the first place, the kind of knowledge—or wisdom—one needs for emancipating consciousness is not cumulative. It cannot be condensed into a formula; it cannot be memorized and then routinely applied. Like other complex forms of expertise, such as a mature political judgment or a refined aesthetic sense, it must be earned through trial-and-error experience by each individual, generation after generation. Control over consciousness is not simply a cognitive skill. At least as much as intelligence, it requires the commitment of emotions and will. It is not enough to know how to do it; one must do it, consistently, in the same way as athletes or musicians who must keep practicing what they know in theory. And this is never easy. Progress is relatively fast in fields that apply knowledge to the material world, such as physics or genetics. But it is painfully slow when knowledge is to be applied to modify our own habits and desires.

The boy himself was in the grip of his impulse, without knowing what was happening to him. He was not performing a dance he already knew, a dance he had practiced before. This was no familiar rite of celebrating sun and morning that he had long ago invented. Only later would he realize that his dance and his transported state in general were only partly caused by the mountain air, the sun, the dawn, his sense of freedom. They were also a response to the change awaiting him, the new chapter in his young life that had come in the friendly and awe-inspiring form of the Magister. In that morning hour many elements conspired in the soul of young Tito to shape his destiny and distinguish this hour above a thousand others as a high, a festive, a consecrated time. Without knowing what he was doing, asking no questions, he obeyed the command of this ecstatic moment, danced his worship, prayed to the sun, professed with devout movements and gestures his joy, his faith in life, his piety and reverence, both proudly and submissively offered up in the dance his devout soul as a sacrifice to the sun and the gods, and no less to the man he admired and feared, the sage and musician, the Master of the magic Game who had come to him from mysterious realms, his future teacher and friend.

Why are we as helpless, or more so, than our ancestors were in facing the chaos that interferes with happiness? There are at least two good explanations for this failure. In the first place, the kind of knowledge—or wisdom—one needs for emancipating consciousness is not cumulative. It cannot be condensed into a formula; it cannot be memorized and then routinely applied. Like other complex forms of expertise, such as a mature political judgment or a refined aesthetic sense, it must be earned through trial-and-error experience by each individual, generation after generation. Control over consciousness is not simply a cognitive skill. At least as much as intelligence, it requires the commitment of emotions and will. It is not enough to know how to do it; one must do it, consistently, in the same way as athletes or musicians who must keep practicing what they know in theory. And this is never easy. Progress is relatively fast in fields that apply knowledge to the material world, such as physics or genetics. But it is painfully slow when knowledge is to be applied to modify our own habits and desires. Second, the knowledge of how to control consciousness must be reformulated every time the cultural context changes. The wisdom of the mystics, of the Sufi, of the great yogis, or of the Zen masters might have been excellent in their own time—and might still be the best, if we lived in those times and in those cultures. But when transplanted to contemporary California those systems lose quite a bit of their original power. They contain elements that are specific to their original contexts, and when these accidental components are not distinguished from what is essential, the path to freedom gets overgrown by brambles of meaningless mumbo jumbo. Ritual form wins over substance, and

Similarly, the brains of mice that have learned many tasks are slightly different from the brains of other mice that have not learned these tasks. It is not so much that the number of neurons has changed, but rather that the nature of the neural connections has been altered by the learning process. In other words, learning actually changes the structure of the brain. This raises the old adage “practice makes perfect.” Canadian psychologist Dr. Donald Hebb discovered an important fact about the wiring of the brain: the more we exercise certain skills, the more certain pathways in our brains become reinforced, so the task becomes easier. Unlike a digital computer, which is just as dumb today as it was yesterday, the brain is a learning machine with the ability to rewire its neural pathways every time it learns something. This is a fundamental difference between a digital computer and the brain. This lesson applies not only to London taxicab drivers, but also to accomplished concert musicians as well. According to psychologist Dr. K. Anders Ericsson and colleagues, who studied master violinists at Berlin’s elite Academy of Music, top concert violinists could easily rack up ten thousand hours of grueling practice by the time they were twenty years old, practicing more than thirty hours per week. By contrast, he found that students who were merely exceptional studied only eight thousand hours or fewer, and future music teachers practiced only a total of four thousand hours. Neurologist Daniel Levitin says, “The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything.… In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again.” Malcolm Gladwell, writing in the book Outliers, calls this the “10,000-hour rule.

FACING THE MUSIC Many years ago a man conned his way into the orchestra of the emperor of China although he could not play a note. Whenever the group practiced or performed, he would hold his flute against his lips, pretending to play but not making a sound. He received a modest salary and enjoyed a comfortable living. Then one day the emperor requested a solo from each musician. The flutist got nervous. There wasn’t enough time to learn the instrument. He pretended to be sick, but the royal physician wasn’t fooled. On the day of his solo performance, the impostor took poison and killed himself. The explanation of his suicide led to a phrase that found its way into the English language: “He refused to face the music.”2 The cure for deceit is simply this: face the music. Tell the truth. Some of us are living in deceit. Some of us are walking in the shadows. The lies of Ananias and Sapphira resulted in death; so have ours. Some of us have buried a marriage, parts of a conscience, and even parts of our faith—all because we won’t tell the truth. Are you in a dilemma, wondering if you should tell the truth or not? The question to ask in such moments is, Will God bless my deceit? Will he, who hates lies, bless a strategy built on lies? Will the Lord, who loves the truth, bless the business of falsehoods? Will God honor the career of the manipulator? Will God come to the aid of the cheater? Will God bless my dishonesty? I don’t think so either. Examine your heart. Ask yourself some tough questions. Am I being completely honest with my spouse and children? Are my relationships marked by candor? What about my work or school environment? Am I honest in my dealings? Am I a trustworthy student? An honest taxpayer? A reliable witness at work? Do you tell the truth . . . always? If not, start today. Don’t wait until tomorrow. The ripple of today’s lie is tomorrow’s wave and next year’s flood. Start today. Be just like Jesus. Tell the truth, the whole truth, and nothing but the truth.

During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valérius, Daaé consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars: "Ma'am..." or, "Kind gentleman... have you a little story to tell us, please?" And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather. But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daaé came and sat down by them on the roadside and in a low voice, as though fearing lest he should frighten the ghosts whom he loved, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more. There was one story that began: "A king sat in a little boat on one of those deep still lakes that open like a bright eye in the midst of the Norwegian mountains..." And another: "Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music." While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daaé's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how their are little prodigies who play the fiddle at six better than fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practice their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience. No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad or disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius. Little Christine asked her father if he had heard the Angel of Music. But Daddy Daaé shook his head sadly; and then his eyes lit up, as he said: "You will hear him one day, my child! When I am in Heaven, I will send him to you!" Daddy was beginning to cough at that time.

you can’t learn a language by learning a set of rules, you have to learn it by immersing yourself in it and getting a sense of its practices.

As will be on display throughout this book, Zen has all along been an ironically "iconoclastic tradition." Some of its canonical stories include Bodhidharma (fifth–sixth centuries) telling Emperor Wu that he has gained no karmic merit from all of his meritorious activities, and that the most sacred truth is that that there is nothing sacred; depictions of Huineng (seventh century) tearing up the sutras; Linji (ninth century) encouraging his students to "kill the Buddha"; Ikkyū (fifteenth century) writing erotic poetry about his steamy love affair during the last decade of his life with a blind musician; and "an older woman of Hara" (seventeenth century) boldly retorting "Hey, you aren't enlightened yet!" after she told the eminent master Hakuin of her luminously enlightening experience and he tested her by saying that "Nothing can shine in your asshole. " Contemporary Zen Buddhists should feel free to carry on this irreverent and iconoclastic tradition of destroying false idols of Zen—but only insofar as they have sufficiently imbibed its true spirit and are doing so in a genuine effort to keep it alive and let it thrive.

A person doesn't become an accomplished musician by watching other people play. He becomes successful by himself, playing and practicing... daily... every day... for hours on end. Calloused fingers and cramping hands are just some of the inherent costs of becoming a guitar player. He spends the majority of his time tucked away in a back room mastering his craft.... Most great musicians are often born from a lifetime of daily grueling practice, behind the scenes and in relative obscurity. Most of what the public sees of these people is merely the finished product of years of work. The best ones make it look easy, almost effortless.

One of the most compelling pieces of evidence, though, for the use of “Nearer, My God, to Thee” was the fact that it was the best-loved hymn of Wallace Hartley and had been introduced to the Bethel Chapel by Wallace’s father, Albion Hartley, when he was choirmaster. A friend from Colne told the British Weekly: “It was the custom of the Bethel church choir leader to choose the hymn or chant after prayer and Mr. Albion Hartley often selected ‘Nearer, My God, to Thee.’ The hymn was also a great favourite with his son, the bandmaster of the Titanic, for a cousin mentioned that he would often be kept waiting for Wallace to go and play cricket because he was practicing ‘Nearer, My God, to Thee’ in variations on the violin.

In a now-famous experiment, he and his colleagues compared three groups of expert violinists at the elite Music Academy in West Berlin. The researchers asked the professors to divide the students into three groups: the “best violinists,” who had the potential for careers as international soloists; the “good violinists”; and a third group training to be violin teachers rather than performers. Then they interviewed the musicians and asked them to keep detailed diaries of their time. They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week— participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done. Ericsson and his cohorts found similar effects of solitude when they studied other kinds of expert performers. “Serious study alone” is the strongest predictor of skill for tournament-rated chess players, for example; grandmasters typically spend a whopping five thousand hours—almost five times as many hours as intermediatelevel players—studying the game by themselves during their first ten years of learning to play. College students who tend to study alone learn more over time than those who work in groups. Even elite athletes in team sports often spend unusual amounts of time in solitary practice. What’s so magical about solitude? In many fields, Ericsson told me, it’s only when you’re alone that you can engage in Deliberate Practice, which he has identified as the key to exceptional achievement. When you practice deliberately, you identify the tasks or knowledge that are just out of your reach, strive to upgrade your performance, monitor your progress, and revise accordingly. Practice sessions that fall short of this standard are not only less useful—they’re counterproductive. They reinforce existing cognitive mechanisms instead of improving them. Deliberate Practice is best conducted alone for several reasons. It takes intense concentration, and other people can be distracting. It requires deep motivation, often self-generated. But most important, it involves working on the task that’s most challenging to you personally. Only when you’re alone, Ericsson told me, can you “go directly to the part that’s challenging to you. If you want to improve what you’re doing, you have to be the one who generates the move. Imagine a group class—you’re the one generating the move only a small percentage of the time.” To see Deliberate Practice in action, we need look no further than the story of Stephen Wozniak. The Homebrew meeting was the catalyst that inspired him to build that first PC, but the knowledge base and work habits that made it possible came from another place entirely: Woz had deliberately practiced engineering ever since he was a little kid. (Ericsson says that it takes approximately ten thousand hours of Deliberate Practice to gain true expertise, so it helps to start young.)

To paraphrase Ezra Pound, don't imagine that the art of prose is any simpler than the art of music; spend as much time developing your craft as a pianist spends practicing scales. 'Let the neophyte know assonance and alliteration, rhyme immediate and delayed, simple and polyphonic, as a musician would expect to know harmony and counterpoint, Pound argued in his 1913 essay, 'A Few Don'ts.

You’ll never become an expert at anything by simply reading a book. Athletes don’t become elite competitors after reading about their sport nor do top musicians increase their musical abilities by simply watching other performers play. They also have to practice.

Business acumen is the term used to describe a person’s understanding of various dimensions of a business that are “in play” as situations arise. This “business common sense” is built up over time, just like practitioners such as surgeons, musicians, or pilots get better with practice.

The primacy of performance dominates their thoughts. To return to Dylan’s Nobel Lecture, we find him musing on the practicalities of ‘putting on a show’: “I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn’t have entered his head. His words were written for the stage. Meant to be spoken not read. When he was writing Hamlet, I’m sure he was thinking about a lot of different things: “Who’re the right actors for these roles?” “How should this be staged?” “Do I really want to set this in Denmark8?” His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. “Is the financing in place?” “Are there enough good seats for my patrons?” “Where am I going to get a human skull?” I would bet that the farthest thing from Shakespeare’s mind was the question “Is this literature? But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life’s mundane matters. “Who are the best musicians for these songs?” “Am I recording in the right studio?” “Is this song in the right key?” Some things never change, even in 400 years. Not once have I ever had the time to ask myself, “Are my songs literature?

But you have something to say. You already told me. You’ll keep practicing and your technique will get better—that’s what happens when you practice. But having something real to say—that isn’t something anybody else can just teach you, because it has to come from you yourself. So before the finals, we’ll work on your technique so you have the flash where you need it. It’s the combination of technique and emotion that makes a great musician.

We must learn to put up with what we cannot avoid. Our life, like the harmony of the world, is composed of contrary things – of diverse tones, sweet and harsh, sharp and flat, sprightly and solemn. The musician who only loved some of them – what would he be able to do? He has to know how to make use of them all, and be able to mix them together. We must do the same with the good and the bad, which are of the same substance as our lives. Montaigne, Of Experience (1580)

The musician David Rothenberg claims that “life is far more interesting than it needs to be, because the forces that guide it are not merely practical.”6

In the vocabulary of neuroscience, we map brains to discover we have “mutable maps” (Merzenich, 2001, p. 418). For example, with the decision to play a violin well, and resolute practice, string musicians alter the structural configuration of their brains to facilitate fingering the strings with one arm and drawing the bow with the other (Elbert et al., 1995).

The hardest thing about depression is that it is addictive. It begins to feel uncomfortable not to be depressed. You feel guilty for feeling happy. ​— ​Pete Wentz, musician.

Turn on the metronome against your recording and see how well you play in time.

Varied rhythms are useful for fast runs and passages. Diversifying the rhythms will help you keep your practicing engaged and focused while also enabling you to play evenly. There are many ways to vary rhythms. You can play dotted rhythms such as in Figure 1. You can also experiment playing the run in groups of three notes such as in Figure 2. For more diversification, play the run in groups of four notes, five notes, as well as in triplets as shown in Figure 3. Come up with new ways of varying the rhythms for your fast passages. Note that when you play a varied rhythm, you should also play the opposite varied rhythm immediately after. See A vs. B in the figures below.

Always remember that your goals are the most important. It is the first step to turning any dream or thought into reality. Without goals, you are inevitably going nowhere. Have goals and make them real by writing them down.

Chunk your music to simplify it. Break it down by phrases and sub-phrases. Do whatever you need to do to keep it simple! Don’t waste your time playing passages you already know well and can play. Focus on the practicing what you can’t play. That is where improvement lies.

The most effective way I have learned to internalize rhythm and pulse is to halve the length of the beats per minute on the metronome. For example, if the piece of music is played at 60 bmp, then I will set the metronome to 30 bmp. This way I have to play two beats of music within one click of the metronome. This forces you to feel and know exactly where the two beats sit. Once you are very comfortable with the tips mentioned above, try challenging yourself further by playing with one click per measure. This will help you develop your inner pulse. For example, playing in a 4/4 time signature: 1. Play the passage so that the metronome click is on the downbeat (beat 1). 2. Play the passage so that the metronome click is on the 2nd beat (beat 2). 3. Play the passage so that the metronome click is half-way through the measure (beat 3). 4. Play the passage so that the metronome click is on the upbeat of the measure (beat 4). I know and I have heard many teachers say that you should practice as much with the metronome as without it. In my experience, the closer I got to being confident playing 1 measure in 1 click, the better I played without the metronome. I would strongly recommend playing a lot with the metronome at 1 click per measure and challenging yourself beyond that. Play 1 click for every 2 measures, even for 3 or 4 measures depending on the speed of the piece. This is what will help you play in time without a metronome.

Transposing your music into different keys can be challenging and may also seem like a waste of time because you have to relearn all the notes, but it can work wonders. Practicing transposing your music into different keys will help you hear the relationship between notes so that no matter the key or your instrument’s tendencies, you know the distance between the intervals. You will be able to play the correct intervals in any key, in addition to improving transposing skills.

a-note approach: This approach is exactly as the name suggests. Start with only one note. Play this one note in time and repeat it until you are comfortable with it. Then, add a note. Play only these two notes. Repeat them over and over. When you are comfortable and it becomes easier to play, add a note. Repeat. You could learn an entire piece using only this method and never even have to do slow practice!

It is not impossible, however uncongenial the thought may be to the Citadel, that many "unscientific" reality-tunnels, explored by, say, painters, or poets, or musicians, or novelists, or "mystics," may be not non-existent but merely not-tuned-in by those who have not practiced for many years in tuning-in painterly or poetic or musical or novelistic or "mystical" brain circuits.

As I was heeding gravity’s pull down the hill, I also heard music coming from upstairs. Three instruments, a violin, a flute, and a cello, were playing in a second-floor apartment. They were murdering a piece by Bach, I think. The murder was not in question, I just wasn’t sure if it was Bach or Haydn or someone else being killed upstairs. I stopped dead in my tracks to listen to them. They played with such a confident erring. On they stumbled and they never stopped to correct themselves. They pushed forward through their mistakes to the end. I applauded. I had to. I’m not sure they noticed me, but what luck for me to witness their attempt that morning. I looked out at the bay. What fine luck. Moments like the soloist practicing scales in Portland and the trio murdering Bach in Iceland give me such energy and such hope. These musicians were playing loud for all to hear and tough luck to the world if it was not perfect and the world judged them harshly. There is only one way to the proficiency of the master, and the budding violinist knew it as did the trio. Practice. Keep practicing until the notes have the precision they require. Keep practicing until the work is transformed, until the work transforms you, until study becomes Mastery.