The Musician's Way Blog

Andre Watts performs from memory with the Atlanta Symphony

“Performing from memory can be a beautiful thing.”
–The Musician’s Way, p. 82

As someone who has performed countless solos, I know the upsides and downsides of playing with and without a score.

We musicians often hash over the issue of whether to memorize or not, and pianist Stephen Hough thoughtfully examined the pros and cons in a 2011 article in The Guardian. Continue Reading

“Rich artistic futures await the musicians who are unafraid to cut loose from predictable moorings.”
-The Musician’s Way, p. 109

The December/January edition of The Musician’s Way Newsletter looks into creativity-boosting strategies, low-cost CD/DVD production services, and exciting innovations in the music world.

Music teachers will find valuable resources, too, including tips for improving students’ practice habits and attitudes toward practice. Plus, singers and voice teachers will find important ideas for sustaining vocal health and advancing artistry. Continue Reading

“Your habits in the practice room make you the musician that you are.”
-The Musician’s Way, p. 20

I’m pleased to present this guest post by Dr. Lisa Dawson of Indiana Weslyan University. -GK

The Musician’s Way by Gerald Klickstein is being used by the Voice Department at Indiana Wesleyan University as a core text throughout the 2012-13 academic year. This post outlines our pace of study. Continue Reading

“We first make our habits and then our habits make us.”
–John Dryden, poet (The Musician’s Way, p. 20)

When you practice, are you consistently focused and productive? If not, the reason may lie in chronic habits that undermine your attention and creativity.

Here are 7 ways to replace unwanted practice habits with those that foster deeper learning and higher creativity. Continue Reading

“Practice holds a place of honor in the life of a musician.”
–The Musician’s Way, p. 4

All of us veteran musicians share the same twin aims when we practice: we intend to polish our skills and prepare music for performances.

We also know how to accomplish our goals efficiently. Continue Reading

“I continued to play with a sore arm with the rationalization that I could play through the pain and that the discomfort would just miraculously go away as I got into better shape as a cellist. But the pain didn’t go away. It got worse.”
–Janet Horvath, cellist (The Musician’s Way, p. 231)

High-level music making brings immeasurable rewards and also comes with risks of injury.

But if we understand the risks, we can minimize them and position ourselves to keep performing for life.

This post spotlights the 5 main causes of musicians’ injuries (aside from those that affect hearing) along with ways in which we can sidestep common mishaps. Continue Reading

“A concert may end when the applause fades, but your artistic work and your responsibilities as a performer are far from complete.”
–The Musician’s Way, p. 196

As you exit the stage at the end of a performance, how do you typically feel?

Then, when you interact with listeners and coperformers, how do things go?

Continue Reading

“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.

Continue Reading

“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

“The beauty in playing the instrument is not to be better than the next person
but to stay true to oneself, to set one’s own standards and keep to them.”
–Andrés Cárdenes, violinist (The Musician’s Way, p. 305)

In many ways, we succeed or flounder as artists based on the standards we uphold.

Here are three reasons why.

Continue Reading