A teacher recently asked on one of those wonderful internet music teaching forums how to get her middle school and younger students not to rush in recitals. I saw lots of interesting and inventive answers about metronomes, playing with the cd, etc., but reading those answers, I realized that my younger students don’t rush when playing in public, even after they make some pretty egregious mistakes. I then polled many of my recitals’ spectators one by one to see if they noticed anyone rushing. Nope. Want to know my secret?
Here it is, but first I have a confession to make.
I don’t use a metronome on my students.
I can hear the collective gasp all over the English-speaking music world. But I really don’t. And here’s why.
First of all, time doesn’t really exist – it’s a perception. Haven’t you noticed that when you’re having fun, time flies? Conversely, ask any woman who has been through natural childbirth how long the minute (only a minute!) that a labor contraction actually lasts seems to last. Have you also noticed that an accompanist trying to hold back a rushing student usually doesn’t succeed and winds up running after him? So all the metronomes in the world aren’t going to help if, once they’re turned off, the student’s perception of time is skewed. So why is this? What messes with a student’s sense of time?
BODY MEMORY (it may not be remembering what you want it to):
A well known violinist, who I won’t name as I haven’t asked his permission, once told me that he had decided to learn the Barber 3rd movement (presto in moto perpetuo), listened to recordings, put them away and started practicing. But no matter how much he practiced, he couldn’t get it up to tempo. He then listened again to the recordings and discovered that he was playing much faster than those recordings. His conclusion was that the body has a memory and plays up to it’s habitual level of discomfort. Students usually start rushing when they get to the difficult parts, even when they are no longer difficult, as body memory takes over – it isn’t happy until it’s miserable sort of thing. So make students aware of this phenomenon, remind them that the once tricky parts are no longer difficult and not to let their bodies dictate tempo. Remembering to breathe through it helps, too.
THEY STOP THINKING ABOUT WHAT THEY”RE DOING AND START THINKING ABOUT THEMSELVES:
“Uh-oh, I made a big mistake (memory lapse, wrong note, whatever they find upsetting).” And things go in a downward spiral from there. They get flustered, convinced that the whole world heard that mistake, it’ll be on the front page of the NY Times, and so on. What has happened here is that they have forgotten two cardinal rules of playing music in public:
- Think about what you’re doing, what you’re going to do without ever (and this is the hard part) thinking about what you have just done. I liken it to driving down the street while looking back to see where you have just been. “What’s going to happen?” I ask my students. “Disaster,” they answer. Upon getting flustered, adrenalin flows and they want to get the whole thing over with as fast as they can. Ah, the poor accompanist. (I pay mine very well, just in case.)
- Think about the music, not yourself. Allowing yourself to lose control means you let that monkey in your head take over and you are only thinking of yourself instead of the music. And that is really a very serious thing, indeed. To transmit your anxiety, your thoughts, your fears is not why we play music for others.
THEY HAVE NO IDEA WHAT THEY REALLY WANT TO ACHIEVE
If they don’t know what they want, how are they going to get it? Sometimes, students don’t have clear ideas what they want to do with a piece. Just hearing it a million times isn’t enough. Playing by rote is not interpreting the music. And you can ask even rank beginners to interpret, have their own ideas and be aware of rhythm and pacing, among other things.
THEY RUSH WHEN THEY PRACTICE
They need to be reminded that how they practice is how they’re going to play and to always remember that they’re playing for the universe, not themselves. Music is something you do every time you play a note, even a scale, and deserves respect. A metronome doesn’t teach you this.
THEY DON’T UNDERSTAND WHAT THEY ARE REALLY DOING WHEN THEY ARE PERFORMING. Continue reading