Practicing with Intention Part 3: Identifying Stuck Points

Jennifer Kennedy
Nov 17, 2021
4 min read

Updated: Jun 26, 2024

As a private flute teacher, I often ask students to play through a piece we have been studying then share their thoughts about how it went. I might ask them, "How do you feel about your performance? What went well?" If a student isn't used to these kinds of questions, they might say simply, "It was bad."

I've found that many musicians are self-critical in a generalist way. But of course that isn't usually productive to our development as people and musicians. When you get feedback about anything in life, the more specific, the better. For example, imagine you've written an essay or thesis and asked your teacher to read it and give you feedback. When they return it to you, would you rather see a bunch of red comments regarding your grammar and organization or just one big "THIS IS JUST OKAY" scrawled across the top. I would like to think most of us would rather get a thorough review brimming with constructive comments to consider!

Musicians are often naturally ambitious people, so it's important that we get practical, applicable feedback. We would never study with a teacher who said nothing except, "Ehh...it was okay," or "That was wonderful! Don't change a thing!" So why would we settle for that kind of feedback within our own minds?

Of course, this is easier said than done, and controlling one's inner critic is a life-long challenge for many. For me, it helps to focus at the micro level first. Focusing on tiny details can help to regain control and recognize that I am capable of tackling whatever notes are misbehaving. They just need a moment of attention. Give it a try!

The Importance of Diagnosis

There are very few similarities between practicing medicine and music. But there is one major point of overlap, which is diagnosis. We all understand that doctors go through a process to diagnose, and without that they wouldn't know how to treat illnesses properly and efficiently. Their patients might otherwise undergo several treatments that aren't the most effective at treating their ailments. Well, musicians need diagnosis during practice sessions for the same basic reasons.

Are you even practicing if you aren't diagnosing stuck points?

Much like a scientist with a microscope, we can use our observation skills to zone in on details that need work rather than making general comments about large sections or an abstract concepts like "phrasing." When we focus on specific measures or sections that need attention (stuck points), then we can make a practice plan and execute it step-by-step to make effective progress while avoiding unnecessary stress about sections that are in good shape.

Music is a detail-oriented practice, so a lot of the time we spend in the practice room should be focused on ironing out the subtle uneven moments amongst a sea of 32nd notes or choosing just the right color for the opening to Prelude to the Afternoon of a Faun. When the details are in order, the whole comes together more convincingly, and the music is fulfilling to play.

It's All in the Details

Let's talk about how to zoom in on the toughest measures and what comes next!

1) When you're practicing, keep your ears open for places that sound "off." Keep a running list of those spots in mind and come back to them later to explore further. You don't have to know exactly what needs improvement at this stage; let your ears guide you.

2) Go back to the spots on your list one at a time. Be patient with yourself and don't rush through. Take the time you need on each spot to explore it completely (see steps 3-4).

3) Play through each stuck point slowly and zoom in further if you can. For example, if you revisit a measure where you fumbled through 4 beats of 16th notes, play through them slowly, listening carefully to identify a specific beat where your fingers move unevenly or a note doesn't sound appropriately. Once you've found it, you might zoom in even further to find which note within the beat is the culprit. You may do this a couple of times, even slower if necessary, to find the spot you're after, then you can tackle it with practice techniques.

4) Use practice techniques (which we will talk more about in the Part 4) to break down the spots that are difficult for you. Consider the why behind the problem. If you find that you were rushing past one specific note, think about what you could write down to remind yourself during performance, or consider whether an alternate fingering may work better for you. Maybe you determine it was actually an air direction issue so you consider how to adjust your aperture. Consider options based on your knowledge about your instrument and what category that spot falls into (air direction/support, aperture, technique, tension, tongue or jaw position, etc.).