The Ultimate Practice Routine.

Many more music resources at www.jazzwise.com The Ultimate Practice Routine (UPR) is a collection of tips and suggestions that work in helping you to get more out of your practice time. If you're looking to improve quickly, you need a plan that will help you become your own teacher. ZERO RESULT PRACTICE -work on things you can already do -adopt a half-hearted approach -dont listen to your sound -repeat actions without thought -attempt exercises that are far beyond you at present -set unrealistic or unspecific goals to work towards -play whatever you feel like -create excuses for not practicing -perform exercises in a mechanical way ULTIMATE PRACTICE +spend most time on new challenges +concentrate on point of exercise +visualize before playing; get away from the body leading the mind angle +play as if in performance +repeat exercises slowly to build muscle memory +keep a positive mental attitude +record yourself regularly to gauge improvement and spot weaknesses +plan your work and work your plan

WHAT AND HOW TO PRACTICE Step 1: Find a tune you want to learn and base your practice around it. Step 2: Look out recordings of the tune in libraries, online downloads etc. Body and Soul: a jazz classic from the 1930s. Played by many musicians, featured in films / TV etc. Notable recordings include Coleman Hawkins, Billie Holiday, Eddie Jefferson, Art Tatum and Benny Goodman. Step 3: Write up goals, general ones at first then more specific as you get into it. Example of general goals play the melody through accurately; arpeggiate the chords of the tune in time; learn the lyrics (non-singers too!) Example of specific goals learn and play lick from a recording; explore the Bb harmonic minor scale over the minor ii-V7 in Bar 6; use Giant Steps changes. Step 4: Develop a logical routine. A great analogy from Jazzwise Summer School guitar tutor and Mel Bay author Corey Christiansen is to think of what to work on as 'a hamburger,' a logical structure with a variety of activities:

The topic for the 'Single Focus Studies' part of the routine is up to you, but it needs to be linked to the tune. You can draw up a rotation of things to include, but the point is to work longest on one aspect only at a time, not everything. What and how you practise will change over time, depending on your skill development and aspirations.

For more resources and information visit www.jazzwise.com Jazzwise Publications Ltd 2006

The Ultimate Practice Routine.

Many more music resources at www.jazzwise.com WHEN AND HOW LONG TO PRACTICE The first session should be in the morning, regularly and in small amounts. Before drawing up an 11 hour schedule consider these points : >> its what you achieve not how long you spend >> most people learn best in short bursts of concentration and to play music it takes a lot of concentration. 45 minute bursts are fine. So if the warm-up and warm-down are 5 minutes each, I'd spend 7.5 minutes on each recap and 20 on the study. This would total 45 minutes. >> if you have more time, great! But short sessions frequently are best. THINGS TO DO AWAY FROM THE INSTRUMENT Not all practice needs to be on the instrument. Four other aspects I believe that are critical to success and should be included in a routine are: Visualising the idea of working out music in your mind. Sounds vague but actually works. I use this during the first part of my practice and usually think of a piano keyboard to help me 'see' intervals, scales, voice leading etc as black and white keys. Then imagine the physical actions required to play the music on your instrument. When it comes to actual playing, most of the work is done. Jerry Bergonzis first volume in his Inside Improvisation series discusses this. Also, 'seeing' and 'hearing' in your mind can achieve far more than hours of physical technical exercises. Ear Training - this is often neglected but used regularly can really improve your playing. Hearing and singing intervals, chords etc is music. Try to sing the exercises to get them in your mind and youll be surprised how your playing improves. The Aebersold Ear Training volume is a popular tool for this. Transcribing - this is best tool for generating future playing goals. Choose music you like, get Transcribe! to help and you'll soon have goals for future practice sessions. Other benefits include better awareness of intervals/chords, pattern recognition and a greater understanding of music in general. Attentive Listening - get the concept of the sound you want in your mind, so that you can physically respond to producing this sound. This is especially important for all horn players and vocalists. Listen to a variety of styles, performers and eventually, instruments. THINGS TO MOTIVATE YOUR PRACTISING 'Knowledge is power' - get a book and a teacher. Jazzwise can help you with both: check our online store and join our annual Summer School for inspiration. Practice with others - someone who has gone through the same process and who is willing to share advice and opinions, can support your efforts. Role models / live concerts - there's nothing like the buzz you get from hearing live gigs and talking backstage to a pro musician. Keeps you on a practicing high for weeks. Have opportunities to play sounds obvious, but many people become lifelong practicers and forget that the performance aspect is what its all about. Private parties, concerts / gigs, school concerts, form a band, attend courses, do exams, jam with friends these are all chances to play music and have fun and give practicing a reason. With all these ideas, nows the time for you to work out your Ultimate Practice Routine! Simon, Jazzwise UK 2006

For more resources and information visit www.jazzwise.com Jazzwise Publications Ltd 2006