S.M.A.R.T. Method
A Method For Practicing Smarter, Not Harder
by Cindy Anne Broz
SURVEY the piece by first looking through the music with purpose. Make sure you have a pencil with you as you go through the survey process. Identify time signatures, key signatures, goal tempo, and practical practice tempo based on the challenging passages. Then, play through the piece very slowly from beginning to end one to two times. As you play through the piece, stop and make note of sections that are difficult for you. Consider how you wish to achieve your desired musical phrasing through breathing and air management.*
MARK (neatly in pencil) the sections of the piece that are the most difficult for you to play. Use brackets or parentheses. If you miss a certain note consistently, mark that note with a circle. Mark in key signature notes or accidentals if you miss them more than once (this is especially important in keys that have more than three sharps or flats). If the piece has a double-sharp or double-flat, circle that note along with the preceding and following notes (these are often half-step intervals, but not always). Mark in breaths that support musical line and phrasing.*
Focus your practice ATTENTION on the marked sections. Practice circled notes playing them in context with several preceding and following notes in order to gain secure muscle memory and facility. Practice double-sharps and double-flats by playing the circled notes first, then playing them in context with preceding and following measures. Practice bracketed sections slowly, then increase gradually to your goal tempo. Always keep the musical phrasing and line in mind, even as you practice the smallest designated/marked sections. Never forget the goal is to make beautiful music. In addition to accuracy in notes and rhythms, passage work should always include musical honesty and tonal beauty.
REPLAY each difficult/marked section in the context of one, two, and/or three measures preceding and following it. Play each section at least three times accurately at the speed you achieved in ATTENTION. If you are unable to play each section accurately in this context, then return to focusing practice ATTENTION on the respective section.
TIE TOGETHER *ALL* elements of the piece. Play the piece from beginning to end (include dynamics, tonal elements, phrasing, breathing/air management, and tempi). Evaluate your performance (recording oneself at this point is often a good idea as you can listen to your performance with a "critical ear"). Once you've evaluated your work, connect the entire piece "section to section." Consider starting from the end of the piece and adding sections until you are all the way to the beginning (this will secure stable muscle memory and enhance endurance). If any sections remain challenging (technically or musically), return to ATTENTION and REPLAY until these are as smooth and consistent as the facile sections.
*Music needs to breathe and so do you! Unlike other wind players, flutists need to create an AIR REED. The key to effective and efficient breathing is AIR MANAGEMENT. This is a function of thoracic expansion, opening the larynx, setting and controlling the aperture (AIR REED) in order to release and spread your air across a phrase (like frosting a cake) with sonority, intonation, and dynamic control. The critical challenge lies in the timing. Work with your private teacher on mastering this process.
MARK (neatly in pencil) the sections of the piece that are the most difficult for you to play. Use brackets or parentheses. If you miss a certain note consistently, mark that note with a circle. Mark in key signature notes or accidentals if you miss them more than once (this is especially important in keys that have more than three sharps or flats). If the piece has a double-sharp or double-flat, circle that note along with the preceding and following notes (these are often half-step intervals, but not always). Mark in breaths that support musical line and phrasing.*
Focus your practice ATTENTION on the marked sections. Practice circled notes playing them in context with several preceding and following notes in order to gain secure muscle memory and facility. Practice double-sharps and double-flats by playing the circled notes first, then playing them in context with preceding and following measures. Practice bracketed sections slowly, then increase gradually to your goal tempo. Always keep the musical phrasing and line in mind, even as you practice the smallest designated/marked sections. Never forget the goal is to make beautiful music. In addition to accuracy in notes and rhythms, passage work should always include musical honesty and tonal beauty.
REPLAY each difficult/marked section in the context of one, two, and/or three measures preceding and following it. Play each section at least three times accurately at the speed you achieved in ATTENTION. If you are unable to play each section accurately in this context, then return to focusing practice ATTENTION on the respective section.
TIE TOGETHER *ALL* elements of the piece. Play the piece from beginning to end (include dynamics, tonal elements, phrasing, breathing/air management, and tempi). Evaluate your performance (recording oneself at this point is often a good idea as you can listen to your performance with a "critical ear"). Once you've evaluated your work, connect the entire piece "section to section." Consider starting from the end of the piece and adding sections until you are all the way to the beginning (this will secure stable muscle memory and enhance endurance). If any sections remain challenging (technically or musically), return to ATTENTION and REPLAY until these are as smooth and consistent as the facile sections.
*Music needs to breathe and so do you! Unlike other wind players, flutists need to create an AIR REED. The key to effective and efficient breathing is AIR MANAGEMENT. This is a function of thoracic expansion, opening the larynx, setting and controlling the aperture (AIR REED) in order to release and spread your air across a phrase (like frosting a cake) with sonority, intonation, and dynamic control. The critical challenge lies in the timing. Work with your private teacher on mastering this process.