Reflections on #100DaysOfPractice

If you follow me on Instagram, you've probably noticed me tagging various posts since the beginning of 2018 as #100daysof practice.

My Post.jpg

I'm honestly not quite sure where I first stumbled across the concept on of the internet, but I was really intrigued by it. The idea that I would, for 100 days, log my practice and hold myself accountable to a wider audience by making it public seemed like a great exercise.  

Spoiler alert: while I did log 100 days of practice, I did not log 100 consecutive days of practice as I had initially hoped. Instead, I fully took the first half of the year to complete the challenge, and I have no shame about it. When it became clear early on that I wasn't going to meet the challenge as originally imagined, I decided to redesign it in a way that worked for me.

Even though it wasn't 100 days in a row, the 100 days that I intentionally logged were a great way for me to track my practice routine and yielded a fair bit of insight. Here are a few.

Community is a powerful motivator

When I was in college, I really enjoyed the early morning practice routine I set up for myself. I'd get to campus, practice an hour or so, and then have a bagel-and-tea break with one or two other musicians. We'd grouse about what went wrong, celebrate what went right, and generally encourage each other to keep fighting the good fight. That camaraderie was a driving force for me. Knowing that there was someone else doing the work alongside me and encouraging me when it was hard to keep going made all the difference some days.

Now, as an adult with colleagues scattered across the East Coast--and a few further afield--that physical practice community has all but disappeared. I knew that I missed it, but I was still surprised by how much having a virtual community cheering me on during the 100 days challenge helped keep me going forward. We may all be in different cities, states, and time zones now, but colleagues old and new are a huge part of what makes doing this often-solitary work a little easier and more meaningful.

Logging keeps you honest

As much as I hate to admit it, I definitely over-estimate the amount of time I've spent practicing unless I'm writing it down. While the challenge is over, and I'm no longer trying to make Telemann duets look photogenic, I've kept the habit of writing down what I'm working on for each instrument, tempo markings, trouble spots, and technique issues. Equally important, I make sure to write down the triumphs I have in each session, too: goals that were met, sections that are now up to speed, transitions that are smoother. I can't emphasize enough how much more productive my practice sessions are when I know what to focus my efforts on versus what "only" needs to be maintained.

Growth isn't just for students

Teachers and performers, this one is for you. It can be easy to let our own development slide in the face of money-making endeavors. Sometimes we stagnate because we’re putting all our energy into paying work. Sometimes we stagnate because it's difficult to squeeze any more time out of an already-packed schedule. Frankly, sometimes we are just burned out. But one of the best gifts we can give ourselves is a return to a learning mindset. Conscientious, dedicated, consistent practice helps us move from running in place to real progress. This kind of work helps us re-discover the wonder of music that brought us to the art in the first place. Not to mention that embodying readiness to keep learning sets a powerful example for our students; how can we demand something from them that we aren't demonstrating ourselves?

I would encourage any musician feeling stuck in their progress to give the 100 days of practice challenge a chance. It could be just the jump start your musicianship needs.

Slow Practice

I have lost count of the number of times I have been told as a student to engage in "slow practice." I'm equally at a loss as to the number of times I've passed on this direction as a teacher.

  • "Try that section again, slowed down."
  • "When you work on this at home next week, slow it down to a more comfortable tempo."
  • "Spend some time with this phrase at a slower tempo."
  • "If you slow down, you'll be able to coordinate fingers and air more easily."
  • "That left over right hand crossing will smooth out if you slow it down."

But regardless of whether you are on the giving or receiving end of this advice, sometimes it can feel like you're listening to a broken record. Why all of this emphasis on slow practice?

It's excruciating

At first blush, slow practice can feel torturous, no matter how long you've been playing music. Slowing your 16th notes down so they are played like 8ths--or somehow worse, quarter notes--can feel like the ultimate in excruciating practice. If you're a beginner, you may assume the teacher thinks you can't handle the "real" tempo of a piece. A little more advanced, and it feels like you're holding yourself back by spending so much time under the final tempo. And I can tell you as a professional, there's a real temptation to think you are "better than this" when a beloved mentor recommends you spend some time with your metronome set to what feels like an unreasonably low number.


The rewards are worth it

Why do musicians hear and share this correction so often?

Because it has tremendous merit. There is so much to be gained from slowing down and being fully aware of what and how we are playing. Here are a few of my favorites.


One of the greatest gifts my high school flute teacher gave me--aside from an enduring love of the Baroque--was a deep understanding of slow practice and intonation. Under her expert guidance, I spent months with Trevor Wye's Tone book, a tuner, and a metronome set at 60 bpm. Slowing down, working in half step pairs of quarter notes, allowed me to really understand how I was producing sound, what I could change to get a more focused/in tune tone, what sort of sound concept I wanted to convey. What I learned in those slow practice sessions continues to inform my playing and teaching two decades later.

Hang in there, pianists. You may not have direct control over whether your chords are in tune or not, but you do have direct control over how you are approaching tone production. Just like with woodwinds, slowing down allows you to really listen to how you are creating your sound. Are you playing from your wrists? Elbows? Shoulders? What happens if you experiment with one versus another? Can you change how you voice a chord by weighting your attack differently? You, too, have a lot to gain in your tone by slowing down.


The phrase "perfect practice makes perfect" is attributed to Vince Lombardi, and it is as applicable in the practice room for musicians as it is on the practice field for athletes. While we can discuss whether the word "perfect" really should have a place in our vocabulary as musicians, there's a great lesson here regardless. Accurate, deliberate practice leads to accurate, deliberate performance. Often times when working on a piece at a fast tempo, our inclination is to push to keep the speed up, sometimes sacrificing accuracy in the name of speed. Approaching a piece slowly allows for the opportunity get comfortable with the finger patterns, embouchure changes, air speed, and other nuances that can easily be overlooked when playing fast. 


Slow practice strengths the physical aspects of your playing. If you can make it through your Clementi sonatina at half the speed it was intended to be played at without your arms giving up, you will have no trouble maintaining your strength when it zips by at 108 bpm. If you can breathe your way through Carl Maria von Weber at 42 bpm, your lungs will thank you when you get to 132.


This may be my favorite benefit of them all--although as a piccolo player, I have to say that intonation may actually share the number one spot with mindfulness. When you slow down, you're removing some of your adrenaline and anticipation from the equation by allowing yourself to observe each note as it comes. Did it match your inner concept of that note? If not, try again with the next note, focusing on just that moment. If it did, can you carry that concept through the entire phrase? How does your body feel when you play that note, that chord? Is it relaxed and easeful, or are you carrying extra tension that's inhibiting your sound?

These kinds of questions can be difficult to evaluate when working a piece at tempo when a good deal of mental energy is expended elsewhere. Slowing down your practice lets you get inside your music and examine what you find there. It's an incredible tool on your journey to improve your musicianship.


Maryland All-State Junior Band Audition Music


It's that time of year again: time to start preparing for Maryland All-State auditions. Here's the list of requirements, straight from the Maryland Music Educators Association website. Talk to your band director about getting set up, and then go see your private teacher for help preparing your scales, solos, and sight-reading for your audition!

If you're looking for information on All-State Senior Band, you can find that in this post.


  • Each student will be asked to perform the chromatic scale and one major scale for their instrument, selected from the following keys: C, F,  G,  D, A, E, B- Flat, E-Flat, A-Flat. 
  • The scales must be performed from memory.
  • Scales will be selected by the adjudicator according to the level of the selection being performed.
  • The scales are to be played evenly and smoothly in a 16th note pattern at a metronome speed of quarter = 72.
  • All scales are to be played ascending and descending a minimum of one octave, except Flute and Soprano Clarinet who shall perform the scales a minimum of two octaves.

2017-2018 All State Junior Band (Grades 7 - 9) Music

  • Flute (Piccolo): Rubank Advanced, Vol. 1, HL 04470390
    • Page 39 - #19 (top) – dotted quarter note = 58
    • Page 56 - #31 – quarter note = 108
  • Clarinet (Eb Clarinet): Rubank Advanced, Vol. 1, HL 04470310
    • Page 52 - #12 – quarter note = 76-82
    • Page 26-27 – #8 (top) – quarter note = 88-92
  • Low Clarinet: Rubank Advanced, Vol. 1, HL 04470310
    • Page 24 - #6 (bottom) – dotted quarter note = 54
    • Page 48 - #25 (bottom) – half note = 80
  • All Saxophones: Rubank Advanced, Vol.1, HL 04470370
    • Page 69 - #5 Moderato – quarter note = 84-92
    • Page 50-51 - #20 – dotted quarter note = 112-120

Maryland All-State Senior Band Audition Music

 Image via Pexels

Image via Pexels

I haven't forgotten those auditioning for All-State Senior Band! Here's your list of requirements, plus sight-reading. For additional information, talk to your band director and visit the Maryland Music Educators Association website.

You can find the audition requirements of All-State Junior Band in this post.


  • Each student will be asked to perform the chromatic scale and one major scale for their instrument, selected from the following keys: C, F,  G,  D, A, E, B- Flat, E-Flat, A-Flat. 
  • The scales must be performed from memory.
  • Scales will be selected by the adjudicator according to the level of the selection being performed.
  • The scales are to be played evenly and smoothly in a 16th note pattern at a metronome speed of quarter = 72.
  • All scales are to be played ascending and descending a minimum of one octave, except Flute and Soprano Clarinet who shall perform the scales a minimum of two octaves.

2017-2018 All-State Senior Band (Grades 10 –12) Music

  • Flute (Piccolo): Rubank Selected Studies, HL 04470700
    • Page 25 - Leggiero e veloce – dotted 16th note = 120
    • Page 31 - C Minor – quarter = 69
  • Clarinet (Eb Clarinet): Rubank Selected Studies, HL 04470670
    • Page 28 - F# Minor – quarter note = 72
    • Page 5 - Allegretto – quarter note = 92
  • Low Clarinet: Rubank Selected Studies, HL 04470670
    • Page 2 - C Major – quarter note = 72
  • All Saxophones: Rubank Selected Studies, HL 04470690
    • Page 15 - Vivace – dotted quarter note = 80-84
    • Page 8 - D Minor – eighth note = 84-92

Fall Schedule Update

It's time, folks! Let's talk schedules for fall.

I am teaching at the Baltimore School of Music on Wednesday afternoons and evenings. Please contact the school directly for registration and scheduling information.

I am also teaching privately at students' homes Thursday evenings in the Columbia, Maryland area. Times after 6:00 p.m. are available depending on location. Please contact me directly through this website to schedule a complimentary introductory lesson!

Happy practicing!

Back to School Checklist

I may be in the minority here, but I always look forward to the unofficial tail end of summer and beginning of fall. Maybe it's all those years when mid-August meant preparing to go back to school and beginning the adventure of a new year. Maybe it's that I'm excited to finally get a break from Mid-Atlantic heat! Either way, the  quiet arrival of cooler evenings has me looking forward to fall teaching and music-making.

Whether you spent your summer working on new techniques or taking a breather for some perspective, it's time to start getting ready for a whole new season of music. Here's  a few pointers to get you headed in the right direction.

 Image via PixaBay.

Image via PixaBay.

  1. Schedule an instrument check-up.
    Book an appointment with your friendly local woodwind repair technician. When your instrument is in good working order, the instrument can perform as it was designed to. It works with you to create music, not against you. It's critical to have your instrument serviced at regular intervals, no matter whether you're playing on your first plastic Yamaha clarinet or your third custom grenadilla Buffet. Pianists, check your records for the last time your instrument was serviced. If it needs a tuning, this is a great time to book it. No sense in playing Brahms out of tune! 
  2. Stock up on supplies.
    The first thing that comes to mind here is reeds for clarinets and saxophones. How many do you currently have in rotation? How old are they? Do you need to diversify what strengths you have? If you're not sure, this is a great time to have that conversation with your teacher. Flute players, you're a little bit luckier than your other woodwind colleagues here (no reeds!), but you still have some supplies to inventory along with them. Everyone needs to have cleaning swabs, batteries for metronomes/tuners, key cleaning papers, and the all important stash of pencils.
  3. Locate and organize method books and repertoire.
    This is a small task that can give you a big leg up. It's easy for books to get misplaced when they aren't being used on a regular basis, so if you didn't practice much this summer, it's important to locate materials that you know you'll be using this fall. If you already know where they are, excellent! It's on to the second part: organize these books, sheets, and electronic files in a way that helps you find them quickly when they are needed. 
  4. Brainstorm musical goals.
    You've done the less creative aspects of preparation, now get to the good stuff! On your own or with your teacher--or ideally, with your teacher after you've done some thinking on your own--write down what you want to accomplish this year. Maybe it's something technical, like working on a powerful bottom register on flute or keeping your altissimo notes in tune on clarinet. Maybe there's a piece you want to learn, either for your own enjoyment or a competition. Maybe your phrasing needs work, and you want to experiment more with interpretation. Some of these are big goals; don't be afraid to break them down into more manageable chunks.
  5. Schedule lessons.
    Don't forget to book your fall lesson times! Even if you have access to an excellent band or orchestra program, a private teacher can help you grow musically and refine technique in ways that complement your ensemble playing. And I haven't forgotten you, piano students: with fewer opportunities to play in school, you especially can benefit from time at the bench with your teacher to guide you.

Summertime 2017

Summer is generally a more relaxed time for me, without regular rehearsals or frequent infusions of fresh repertoire to work on. I've been spending a lot of time lately with piano and clarinet--both old friends that I'm eagerly re-introducing into the regular practice rotation. My flute work is focused on technical study to sharpen particular aspects of my playing and prepare for whatever the 2017/2018 season might throw at me.

Some of my colleagues spend the summer in workshops or intensives to rev up for upcoming auditions and performances. If you're feeling the need to light a fire under your playing, a summer intensive can be a great way to propel yourself forward. The work to prepare for these workshops is intense in itself, not to mention the work you'll do while you're there.

Others take some time off from their usual practice routines to create some space and come back with a fresh perspective in the fall. Neither is "better." There's always a balance to be had. If you're burned out, work on practicing smarter instead of harder. Try lessons with a new teacher. Change out what material you're working on. Maybe even take some time away from your instrument (but not too long, or it can be hard to get back in the practice groove).

How are you spending the summer?

(Not So) New Music Tuesday: Lurie and Baker Play Muczynski

A friend and colleague of mine recently gifted me with a real gem of an album, recorded in 1984: Laurie and Baker Play Muczynski. These legendary soloists perform the late 20th-century composer's chamber works for flute and piano, clarinet and piano, and flute and clarinet:

  • "Time Pieces" for Clarinet & Piano, Op. 43
  • Six Duos for Flute & Clarinet, Op. 34
  • Sonata for Flute & Piano, Op. 14
  • Three Preludes for Unaccompanied Flute, Op. 18

My favorite work on the record (yes, it's actually a record!) is the Duos for Flute and Clarinet. This album is the first recording produced of the Duos in this configuration. The six-movement piece was originally composed for two flutists rather than the flute and clarinet instrumentation heard here. It's not atypical for music for flute duo to be arranged for a flute and clarinet pairing, but what makes this particular arrangement interesting is that Muczynski himself opted to re-arrange his flute duet upon learning that Baker and Lurie would be making this record. 

Baker's reputation for exquisite phrasing and an impressive dynamic range in the extreme registers of the instrument really shines in these pieces. His performance holds up 30 years later as an example of truly virtuosic American flute playing.

Curiously, Lurie's performance, while excellent in its own right, doesn't hold up quite as well under modern scrutiny. The two colleagues I spoke with regarding Lurie shared a similar conclusion: Lurie's aesthetic is on the lighter side, embracing a pure core for his sound without exploring much of the darker, warmer timbre that the clarinet is capable of producing. This style of clarinet has largely fallen out of favor, overtaken by powerful, overtone-rich, lush sound.

Still, Baker and Lurie's sounds complement each other beautifully in this recording, where individual lines so often weave in and out of each other that it's difficult to discern where one melody ends and the next begins. They work together expertly to deliver a striking, virtuosic take on these demanding but eminently enjoyable duos. 

The entire album is well worth a listen if you can get your hands on a copy of it, a real gem of American composition and performance--and the duos are absolutely worth playing if you can find yourself a duet partner willing to take on the challenge with you.

Off-Topic Thursday: What Musicians Can Learn from Dancers

 Image via Pexels.

Image via Pexels.

When my schedule permits, I like to take dance classes. I've tried swing, ballet, tap, and modern and enjoyed them all for every different reasons--much like my love for different genres of music. Dance is hands down my favorite form of exercise, since it combines artistic movement with my beloved music. What better way to take care of my body?

And what better way to introduce some variety into my artistic practice than by exploring a different discipline! Aside from the great workout and enjoyable creative experience, more often than not I leave dance classes with new ideas for things to incorporate into my musical work.

The single most important thing that I walk away with, every single class, is dancers' dedication to the foundations of their art form. In the beginner classes I take, there are a tremendous range of abilities, from true beginner up through local professional dancers. Why are professionals dancing in a beginner class? I wondered for a long time. Then I began to watch them--and their interactions with our teachers--a little more closely.

The beginner classes move slowly, with the opportunity to really focus on each movement and combination as they are presented. For the less experienced, this is a chance to learn for the first time with and form healthy, accurate understanding for future work. For the more experienced? This is their chance to focus on returning to and refining core principles. The teacher may offer a beginner like me corrections on my torso alignment, while offering the professional dancers nuanced correction on the angle of their arms.

It's not unlike a musician's time with slow scales, arpeggios, and tone exercises. When we first start out as beginners, it's our first time learning these concepts. With careful instruction and thoughtful work, we learn them as part of our core musical understanding. As a more advanced artist, we return to them as the foundation of the whole of our work. If we can't play a beautiful Bb scale when the quarter note = 80, we shouldn't be hurrying through intricate Anderson etudes at 132.

Slow, thoughtful, "beginner" exercises give the opportunity to really listen to how we are playing. Are we supporting each note of the scale evenly? Do we produce consistent vibrato throughout the entire compass of that scale? Are we playing evenly? Are we shaping the phrases of the scale? There is so much to be explored by revisiting the basics, no matter what level of musician you are. With "time, patience, and intelligent work" (thank you, Trevor Wye!), it can offer tremendous opportunities for growth.

New Music Tuesday: Rosna by Laboratorium Pieśni

I've been a fan of Laboratorium Pieśni since I stumbled across them thanks to the magic of Facebook a few months ago. Their earthy, gorgeous YouTube videos sucked me in almost as much as the magic of their Eastern European polyphony. They recently released their first full length album entitled "Rosna."

Laboratorium Pieśni is an eight-voice, all-female vocal ensemble focusing on international traditional song practice, particularly from Ukraine, Balkans, Poland, Belarus, Georgia, and Scandinavia. Their specialty is a capella polyphonic song with occasional infusion of folk instrumentation. 

The ensemble are actively engaged in field research, seeking to preserve disappearing folk music by infusing it with fresh life. They say it best on their website, "creating a new space in a traditional song, adding voice improvisations, inspired by sounds of nature, often intuitive, wild and feminine."

My favorite track on the album is easily "Sztoj pa moru" ("Out There on the Sea"), a song from Belarus. The haunting vocals and thoughtful use of percussion make this a particularly compelling track.

At the sea, blue sea
There was a floating flock of white swans
And where did the gray-white eagle come from?
It dispersed the flock around the blue sea
White down rose to heaven,
Gray feathers fell on a green meadow
And who will collect these feathers?
A beautiful girl

Check out their entire album, available for streaming and purchase through Bandcamp.

Off-Topic Thursday: ZOOM iQ7 Microphone

One of my absolute favorite tools of the moment is the Zoom iQ7 Rotating Mid Side Stereo Capsule - Lightning Connector for iOS. I've been using it for about a year for everything from quick solo recordings to the main microphone to capture a stage performance, and I've been consistently impressed with its performance.

Read More