Skip to main content

Like Brushing Your Teeth

One of my teacher trainers told me that practicing should be like brushing your teeth. There is never a day when your tooth brushing is affected by other events in your day. The process is completely emotionally detached.

I mulled over her words of wisdom for quite some time after she said them to me. What struck me the most was the suggestion of emotionally detaching myself. All my life I have been told that music is supposed to express emotion. So it was almost like it would be wrong to try and strip that away.

For me, the teeth brushing example was a very interesting concept. I realized that the level of habitual repetition of that daily routine is rarely achieved in any other life areas. Dishes get put off, vacuuming, shopping for groceries.... but I always make the time to brush my teeth.

Always making the time for practice? A lofty ideal indeed.

Comments

  1. Interesting thoughts. My biggest annoyance with practicing as a daily habit usually comes back to how to keep it interesting. So many times I've felt bogged down by the "have to" and "need to" parts of playing scales, working sections, and sharpening skills.

    You can make a habit, saying you must/should do it in the day, but in order to have it worth keeping as a habit in your life later, there has to be a way to keep the passion going. I can feel the difference between going through the motions of playing (like I'm in a daze), and working on something that pushes me and gets me excited about pushing myself more.

    ReplyDelete
    Replies
    1. Well I suppose as a counter argument I'd have to ask why it's necessary for practicing to ALWAYS be interesting. I would say that if we're using the teeth brushing example, I don't consider that part of my day to be interesting or uninteresting. I mean, do you ever feel bored when brushing your teeth? I don't. It's completely ingrained in me.

      So if we're talking about the actual act of practicing, if practicing itself is still something that you (royal you) have to put effort into in order to make exciting in order for you to continue, does that mean it's not a habit yet?

      Delete
  2. Good point. I think when you're first making practice a habit, it needs to be gone about like brushing your teeth. But once the simple habit is in place, there has to be an end goal you're shooting for (recital, completion of a song, chamber music gig). The practice you do to achieve that goal needs to be deliberate, like planning out exactly what work you need to do from the first step to the last and how you'll use your time practicing. You want the music and the goal to be interesting enough, so when you do the grunt work, it's ok if it's not always interesting.

    So between knowing *how* to practice and knowing *what* to practice, you can have a MASTER practice skill set because you've combined it with practicing regularly.

    ReplyDelete
  3. PS: Have you heard of BJ Fogg? He writes a lot about habits and how to create them -- I think you'd like what he says :)

    ReplyDelete
  4. Here's his website: http://www.bjfogg.com/ The first video on the site talks about psychology as it relates to habit formation. There's also a link above the video for his "3 tiny habits" program that I might sign up for. I've heard good things about it.

    ReplyDelete
    Replies
    1. That was really interesting! I watched the video on trigger, ability and motivation. Fascinating.

      Delete
    2. It got me to thinking what would be practicing "triggers"...

      Delete
  5. I was thinking about that too! Maybe one trigger could be, "after I [blank] I walk to my violin."

    ReplyDelete
    Replies
    1. In the example he gave he was talking about eating less popcorn. In a sense that's the easier task because it's like out of sight, out of mind. I kind of wish he went more into the marketing techniques where you want to ADD a new habit.

      You would basically have to train yourself to think of the violin every time some everyday occurrence pops up. Like have a picture of the violin on the fridge lol?

      I dunno. The problem I find with myself and students is not that I'm not thinking about it it's that I don't act on it.

      Delete

Post a Comment

Popular posts from this blog

Interview with Michiko Yurko on Music Mind Games and Sight-Reading in the Suzuki Method

Welcome to Rethinking Genius, Michiko! Please introduce yourself and tell us about your company, Music Mind Games. Hi, Danielle! I am Michiko Yurko and I am the creator of Music Mind Games, a project I have been working on for 40 years. It’s been great! Music and education were important to my parents. Although they followed different professions, my father sang and my mother played the piano. I was always supported in my music and dance lessons and related activities so I have very positive memories of those years. My mom was an elementary classroom teacher and her extraordinary devotion to her students and her creativity taught me to be innovative in my own work. Music Mind Games, LLC was founded in 2005 after Warner Bros (my publisher for nearly 20 years) was sold to Alfred. Although they believed in my work and continue to publish the book Music Mind Games, Alfred said they could not afford to produce the Music Mind Games materials. My husband, Cris and I discussed all sor...

Interview with Dr. Molly Gebrian on the Neuroscience Behind Block vs. Random Practice

Welcome to Rethinking Genius, Molly! Can you tell us a little about your background in teaching and neuroscience? Thank you for inviting me to do this, Danielle! I was a Suzuki kid myself (I studied with David Einfeldt at the Hartt Suzuki Institute from the time I started at age 7), and I’ve done some Suzuki teacher training, but these days, I’m a college professor teaching at the University of Wisconsin-Eau Claire. I’ve been teaching for about 15 years, from 4-year old beginners, all the way up through graduate students. As far as neuroscience goes, I was a double-degree student at Oberlin College and Conservatory, majoring in viola performance and neuroscience. I had no plans to continue with neuroscience (it was just something I found fascinating, that I did for fun!), but when I got to New England Conservatory of Music for grad school, something was missing. My roommate at NEC, who had also been at Oberlin with me, participated in a study at Harvard looking at musicians’ versus ...