Servicing your instrument

This essay is approached from a point of view as to a more comprehensive and effective methodology for the practice of music. Critical thinking invites an approach to thinking at the levels of reasoning, logic, inferences, assumptions and conclusions. That is, the features of critical thinking can become the basis for the practice of music.

Perhaps the teaching of music practice needs to find a place for the processes of algorithm and critical thinking. In the case of algorithm, the definition appears to encapsulate the process very comfortably,

“a mathematical problem solved in a finite number of steps”.

Now make the semantic change from “steps” to “notes” in the definition. Thinking is initially driven by questions, that is, questions for a purpose. In this case a familiarisation with the knowledge of music for practice and reproduction.

Having been made aware of the necessary fundamentals, we are in a position to combine the information with the choice of our instrument on which to make music.

However, it is also time to evaluate the tools and mechanisms by which this experience will take place or has taken place for the already engaged player. Instruments on which music is made are inanimate objects which, to state the obvious, do not think or reason. The instrument’s partner is the human brain which can both think and reason. Therefore, it is extremely important that the practice methodology is used to keep the mental ahead of the physical. On this information, we can formulate a reliable working tool for embedding the brain and servicing the instrument.

We now have a process to which we can follow with confidence and bring about satisfactory outcomes, that is,

As a beginner or an established player, your main task is to service the instrument of your choice with high quality information for demonstration. The concept here is that the instrument of your choice is a demonstrator which reproduces the messages you send to your fingers.

Brain – information – messages – fingers – instrument

Logical and rational, this sequential practice methodology will provide the incentive to pursue the journey in music-making for your enjoyment mentally, physically and emotionally.

For this process to be established, slow practice will be the starting point for the saying and playing. Our point of view can now centre on sending high quality information to the fingers, and finally to the demonstrator, your instrument. This sequence fulfills the methodology for practice.

The implications of the critical thinking by stages, proves us with a practical methodology which is brain driven and not chaotic. That is, questions for a purpose, information, inferences, assumptions, concepts, point of view and conclusion. It is the case that the brain has the potential to deliver messages through the body at high speed. Therefore, speed is not the goal; however, access to a measure of the potential seems feasible and makeable.

Accuracy and confidence coming from our practice methodology can be guided by the advice of French composer of yesteryear, Camille Saint-Saens.

First, you practice slowly,

Next you practice more slowly,

Finally, you practice even more slowly.

Slowly allows you to mentally embed the brain by thinking each note before you send the messages to your fingers and instrument, that is, a priori. For the practice of music, a mental habit which guarantees the mental will guide the physical, providing accuracy and fulfilling outcomes going forward.

Starting from the largest note values on the lines of the staff (treble or bass), complete with clef signs, line names, time signature and bar lines, you are ready to commence. Counting the values of each note is vital for future group playing and enjoyment. You may use numerals for measuring the beats (pulses) for each note. Start with four notes to each bar, for ease and simplicity. Here is the beginning of rhythm (or a regular beat) and rhythm patterns made up of varying note values which go on to more complicated patterns. Finally, before you send the information to your fingers, you must say or think each note. So along with that note, you are counting the pulse or beat that you have selected, you are in motion.

This process can be extrapolated to smaller note values for counting making use of the first seven letters of the alphabet. That is, the identification of the notes. These notes are represented by the lines and spaces between the five lines of the staff. This is some of the detail that you will need to familiarise yourself with as a beginner. As an ongoing player, if you are frustrated with your progress, use this methodology like a beginner. That is, start all over again, so that your brain is controlling the servicing of your chosen instrument.

That may seem a little harsh, however, remind yourself of the fact that your instrument does not have a brain, and neither do your fingers. Your task is to service the instrument with high quality information, which will be faithfully demonstrated by your instrument.

In conclusion, this essay is a methodology based on the sequence,

Brain – messages – fingers – instrument

From simple to complex music.