The Musician's Way Blog

“One should hunger after the whole concept, the whole mood,
what the music stands for.”
–William Pleeth, cellist (The Musician’s Way, p. 71)

When we approach an unfamiliar composition, I recommend that we map out a preliminary interpretation before we deal with technical issues.

But once we have basic musical and technical issues in hand, how do we elevate our interpretation to concert level? Here are 6 ways.

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“You must start well, and you must end well. What is in the middle is not so important because no one is listening then.”
–Maurice Chevalier, singer & actor (The Musician’s Way, p. 180)

I chuckle every time I read Chevalier’s words, but they aren’t intended solely in jest.

The start and finish of performances truly are vital moments in which music blossoms into and then fades out of existence. Continue Reading

“Display confident body language, come what may.”
–The Musician’s Way, p. 194

Are you confident in your ability to deal with on-stage mistakes?

I’ve found that rising musicians seldom practice handling errors, so they typically don’t manage them as gracefully as they could. Continue Reading

“Successful musicians will do things that faltering musicians won’t”
–The Musician’s Way, p. 306

The April/May issue of The Musician’s Way Newsletter features a unique collection of news, tips, inspiration, and resources. Continue Reading

“Make the most seemingly insignificant part feel good for the rest of the ensemble.”
-Wynton Marsalis, trumpeter (The Musician’s Way, p. 123)

We musicians spend vast amounts of time practicing alone. But to make music collectively, we need skills beyond those we rely on in solitary practice.

So, to help aspiring performers become ace collaborators, here are 6 tips that ignite synergy in groups. Continue Reading

“Whenever you practice or perform a composition, celebrate its unique message.
Feel the excitement of listening to the music for the first time.”
–The Musician’s Way, p. 74

All of us musicians learn and then set aside countless pieces over the years.

Sometimes, we excitedly return to old favorites but then feel glum when we realize that music we once performed with ease is now surprisingly difficult. Continue Reading

Pablo Casals

“Don’t give notes. Give the meaning of the notes.”
–Pablo Casals, cellist (The Musician’s Way, p. 34)

What does it take to give meaningful performances?

To begin with, we have to awaken our imaginations so that every pitch we play or sing vibrates with life.

Then, we have to respond deeply to the emotional fabric of a composition, which is the subject of this post. Continue Reading

“Wherever you hope to travel on your musical journey,
practice is the only route to getting there.”
–The Musician’s Way, p. 3

Although deep practice is essential to musical excellence, in my experience, only a minority of rising musicians practice optimally.

Fortunately, though, practice skills can be learned, but musicians first need benchmarks against which to gauge their habits. Continue Reading

“The purpose of technique is to free the unconscious.”
–David Mamet, author (The Musician’s Way, p. 94)

When we acquire robust technical skills, barriers to musical expression drop away.

We internally ‘hear’ musical gestures, and then we make those gestures ring out with a naturalness that seems effortless.

Yet despite the spiritual nature of technical mastery, I find that aspiring musicians often confuse ‘technique’ with ‘mechanics,’ and, as a result, they don’t develop the technical command that they need. Continue Reading

“Begin slowly and increase gradually any unaccustomed use of the hands.”
–Michael Charness, MD (The Musician’s Way, p. 237)

Guitarists Billy McLaughlin and Liona Boyd, pianists Leon Fleischer and Gary Graffman – all are musicians whose careers were upended by the mysterious condition known as focal dystonia.

Focal dystonia is a movement disorder characterized by painless, involuntary muscle contractions that occur when a person does a particular activity.

The images shown here portray a guitarist’s hand and a trombonist’s embouchure during dystonic contractions. Continue Reading