The Value of Consistent Practice as a Musician

This is pretty obvious for people like me but you just can’t take for granted the value of consistent practice as a musician. As an instrumentalist, I would always like to build up my chops. By doing so, it takes me one step towards realizing musical ideas in a more tangible manner.

I was reminded of the value of practice when I was watching an episode of Matt Groening’s Futurama. This particular episode featured Fry in his attempt to become a performer and composer. He was trying to learn an instrument called a Holophoner (a sort of clarinet that also produces holographic images). He sucked at it and so he made a deal with the Robot Devil which involved exchanging his human hands for the Robot Devil’s hands. It was an amusing episode with plot devices similar to every work of art involving a deal with the devil and redemption.

With all the humor aside, what struck a chord in me in that Futurama episode was the fact that Fry said, “There’s so much music in my head but my stupid hands can’t keep up.” Well, I could relate to that very well. As a composer, I want to accurately express what’s in my head using my hands playing my instruments. It is very frustrating when you find yourself being unable to do that. Should I go on a bargain with the Devil for that? Of course not. Whatever is acquired without hard work often fades away fast. Becoming a virtuoso doesn’t happen overnight, and that’s why practice is very important.

Consistent practice is the only way any musician can take their chops to the next level. As an example, all of the musicians in Dream Theater wouldn’t be the virtuosos that they are if they didn’t practice. Unlike stories people typically hear of rock stars, these guys have practice rooms with instruments and metronomes backstage. Their bassist, John Myung, is an excellent model of commitment to practicing. He warms down by playing bass before a show and then cools down by playing bass again after a show. That’s the reason why he can shred like John Petrucci and keep time like Mike Portnoy.

So is the point of practicing just for building chops and be able to perform face-melting wankery? Of course not. It’s just a means to an end. Imagine how it could be easier to be able to write and record music if you could play in an instant what’s been ringing inside your head. As a composer, achieving such is a dream come true. Nothing could be more satisfying as a composer and musician than hearing your ideas come to life as you hear it in your head.

Whether you want to build your chops on the piano or guitar or you want to build your compositional skills, practice will always get you closer to becoming the best that you can be. That is the value of consistent practice as a musician.

Now, please excuse me while I get back to practicing piano, guitar, etc.

A Fairbanks Piano at Club Balai Isabel

My family and I feel very fortunate to have had the opportunity to escape everyday life for a day and a half in a place called Club Balai Isabel. It’s a vacation spot in Talisay, Batangas where we enjoyed a great view of Taal Lake and Volcano, buffet-style meals, and cozy accommodations. Though it was brief, what more can we ask for? It’s a trip sponsored by my wife’s employers that gave us a chance to live like kings and queens for a day. From my own personal end, it provided me with an opportunity to refresh my creative juices and play a fantastic antique piano.

Other than the fact that it was a good opportunity for quality time with my wife and child, I thought of the trip as a way to get inspired to write some new music. Since we decided to bring our own vehicle instead of riding on a hired shuttle service, I was able to bring my nylon-stringed guitar and Zoom H4n recorder, and a laptop, essentially a portable studio ensemble. I was able to record a few musical ideas on the H4n after gaining a fresh new look at the sights, something that I have taken for granted on numerous occasions. However, the afternoon of that day led me to discover this antique piano.

The piano was an upright piano built in 1910 by the Fairbanks Piano Company of Southern California. It had the appearance and feel that you would expect from antique instrument. It was no Yamaha, Steinway or Bechstein but it did have a remarkable character or its own.

As you would have noticed, I am a sucker for pianos and other fine instruments. I just felt the need to play it and see what I can do with it. My wife was initially resistant but then she asked permission on my behalf so that I can play it. As you would see from these videos, I really took advantage of that opportunity.

In order to make my sense of shame and shyness disappear, every time I played on the piano I ordered a drink or two (one of which is for my son). I even managed to record my son playing J.S Bach’s “Bouree in E Minor” on that instrument. I also was able to perform a number of pieces while I was there.

About a few hours before returning to Manila, I was able to record myself playing that wonderful piano, and so here’s how it all turned out as I played for a very small audience consisting of myself, microbes, some flies and perhaps one or two people passing by. I played five pieces all in all: an improvisation, Chopin’s Revolutionary Etude, Debussy’s 1st Arabesque and “Reflets Dans L’Eau” from Images Book I,  and a sketch of my original composition entitled “Waltz on Water”. You can watch and listen to my “live set” below courtesy of the all-powerful YouTube. I’d also like to dedicate this performance to the late Bernabe “Totchie” Galang, my uncle who’d probably have no idea what I’m playing:

01 – Improvisation

02 – “Revolutionary” Etude (Op. 10 No. 12) by Frederic Chopin

03 – “Arabesque No. 1” by Claude Debussy

04 – “Reflets Dans L’Eau” by Claude Debussy

05 – “Waltz on Water” by Mark A. Galang

Would I say that it was a concert-worthy performance? Of course not. I’ll be first to admit that even though I desire such skills, I’m no Lang Lang, Vladimir Ashkenazy, Daniel Barenboim, or Cecile Licad. My excuse would be that I’m more of a composer rather than a concert pianist so I was more of trying to coax out some more creative juices courtesy of that piano rather than trying to please a crowd. After all, you won’t expect me to play pop tunes for solo piano for some people who merely dine and treat pianists as if they were Muzak machines. Anyway, the point is that I really felt happy being able to play a vintage instrument that was still in playable condition, and that doesn’t stop me from trying to act like as if I were a concert pianist, hehehe!