The following essay is Chapter 3 from
Drummer's Insight, the Meta Pursuit of Musicianship and Meaning
Section Two | What's Behind Practicing?
Drummer's Insight, the Meta Pursuit of Musicianship and Meaning
Section Two | What's Behind Practicing?
Perceptions of practice (ugh)
For many, the mere thought of practice brings to mind a range of emotional responses, typically negative. We may view practice as a boring and repetitive activity that yields few positive results. We may think of practice as grueling work and would rather visit the dentist. Or perhaps we understand the benefits of practice, but never create the time or resources to actually do it. Maybe we feel stuck and overwhelmed because we do not know what to work on or where to begin. Or my favorite, we may believe that practicing hinders creativity and that in the course of learning we will somehow become soulless robots playing cookie cutter music. Excuses. All of them.
Here we will briefly address some common perceptions regarding practice.
1. Practice is boring repetition. I do it but I don’t seem to get much better. If our practice consists of nothing more than mere repetition, then yes, by all means it’s boring. Mindlessly repeating patterns on a pad while cognitively engaged in a different activity such as watching TV confirms the belief that practice is boring.
Even worse, when we are not mindfully engaged with the work, we end up reinforcing our present way of playing. In this way we make our mistakes permanent, and subsequently see little or no improvement. Simple repetition without the necessary mental engagement prevents us from identifying problems and making the changes needed to improve.
It is not surprising then, that we rarely see actual improvements in our playing and that our bad habits become more ingrained. In addition, the lack of noticeable improvement from this type of practice is a disincentive for further effort. When we fail to see improvement, it diminishes motivation for further practice. If we find practice boring, we are doing it wrong.
We must take responsibility and engage ourselves with the work. Making improvement is not something that happens magically simply by repeating things. It takes awareness.
2. Practice is grueling work and I’d rather be at the dentist. Doing something we already know how to do is easy, right? Our brain is conditioned to recognize familiarity, which means we may feel discomfort when learning something new and unfamiliar. But repeating what we already can play well is not learning. Staying in the comfort zone may feel safe and comfortable, but learning means to reach beyond our present abilities. We have to learn to live in this place.
To grow we need to challenge our perceived limitations. The trick is to get comfortable with reaching and to welcome new experiences. Learning something new takes effort - it requires the desire to improve musical performance through mental engagement. Doing the difficult work of learning new things is inherently challenging and may even be unpleasant. It’s normal. Yet seeing real results motivates us. When we see real improvement we develop an interest in learning and motivation becomes intrinsic.
3. Practicing hinders creativity. In the course of learning we will somehow become soulless music robots. The truth is, practice that focuses solely on the technical does yield a technical type of player. Music school students struggle with real creativity because creativity has become institutionalized. Academic jazz programs de-contextualize past jazz masters’ improvisations, and the very practices that attempt to close the gap between the theoretical and the creative actually widen it (Wilf, 2014). The truth is that working on only music theory and technique will in fact result in less than creative musicianship.
There is no shortage of soulless musical robots, but the learning of theory and technique is not the reason. It must be done within a well-rounded creative & musical context. One must develop skills for improvising, which is another word for problem-solving. Guidance and knowledge, while essential, cannot replace the cultivation of imagination and creativity which comes from contextual, autonomous exploration (years of listening and internalizing) of all aspects of music, of ourselves and of the instrument. Autonomous exploration - working on our own to make our own connections through trial and error - educes rational inquiry, which promotes imagination and creativity. It is the only way to develop our unique voice.
Too often, musicians lack imagination and do not properly develop the intuition to apply learned knowledge creatively, contextually. While most creative and inspiring musicians we know have likely practiced more than the rest, they also possess imagination and bravery. They experiment and understand context; they have a deep curiosity for the music and for what could be possible. This is what drives them. They are willing to explore, take more risks, and make connections. They actively pursue their creative instincts, are driven to keep going, and push themselves, even though they may be vulnerable to criticism. Learning the tradition ought to inform creativity, not limit or define it.
Whether paying money for a good teacher, expensive drums and cymbals, we nevertheless must work hard on our own. We must put in the difficult work; apply our internal skills in ways we might not yet fully understand.
4. I know practice is important but I can’t find the time to do it on a regular basis. “Who has two or more hours each day to devote to the drumset? I only want to play music. I have to work every day to make money for my house, my car, my vacations, dining out, gadgets and so forth.”
Here’s a subjective question to ponder. Which holds more value, time or money? Although money is a necessity, time gets us the things money cannot buy. You can’t buy musicianship. We must carve the time for practice within the limited time available.
In daily life we systematically make choices between activities which get us either closer to or further from our goals. At first, the choices whether to make time for our drums are a daily struggle. Spending our resources, time and money on hedonic pursuits such as restaurants and never-ending consuming requires that we work more at a day job to earn the money to spend on those activities. Instead of thinking in terms of making more money, find ways to need less of it. By compromising, giving up excessive behavior that does not get us to our goal, we can have more time to do what is most important to us. It gets easier as music-related activities take priority.
Doing nothing to positively change the situation blocks our creative energy. We may feel stress, even guilt when we are not devoting our efforts to what we love most. For some of us, the demands on time and resources which come from family responsibilities, our economic situation or cultural expectations are powerful roadblocks.
For some, these perceived roadblocks can be an excuse not to actually face our discipline, to face the reality of our abilities and our efforts. It’s easy to say we would be *blank* only if we had *blank*. That’s self-deception.
For the rest of us, we can find ways to make more efficient use of our time and expenses while acting on our priorities. It is a matter of making it happen, little by little. We will not someday be given more time, but we can, and must, make time in the time we already have.
5. I don’t know what to practice or where to begin. With all the books, videos, clinic drummers, the masters, and more than 100 years of music available as resources it can be overwhelming and confusing. Where to start? How to keep going? How do we know which path is the best? These are all ways of looking for answers externally, when in fact the answers are internal.
To be honest, not knowing where to start is the lamest excuse for not starting.
We must begin. Begin from where we are. Start doing it. Start walking. We need not, and simply cannot, figure everything out before we begin to act. Beware of ‘answers’ given by others which do not enable us to find what works for us. Playing quarter-notes at 54 bpm is a great place to start. Use your faculties to create your own path. As you go, it becomes clear.
Beginning lessons with a teacher, mentor or working on our own does not have to mean strict adherence to a methodology of learning double-strokes, paradiddles, etc., going step by step through rudiments and technique, up some imaginary ladder of progress. That may be part of the reason we cannot get started - there is no connection with the internal sensibilities we use to make music.
Rudiments and technique are very important, but what is missing is the musical context, the immersion in the music, and our own involvement in the work. Immersion helps to connect the many details which make up the big picture. Musical context inspires and provides meaningful application for the details. There are many paths. An experienced, empathetic teacher, someone who knows how to teach and how to meet us where we are, can guide us in choosing the path that is best for us at this point in time.
With or without a teacher, we are the ones who must begin; we must do the work each day. We have no other choice but to begin from where we are now. Make our own connections; see the big picture while working on the details. The path reveals itself, but only if we take responsibility and start the journey.
Talent
It is a common belief that talent is determined at birth; that someone is either born with or without natural talent for a given field or activity. We come to believe that one either has talent or one does not. While it is true that one may be born with certain aptitudes and proclivities, the belief that someone simply does not have what it takes to be good at something predisposes us to believe that success is pre-determined and unattainable, so therefore we need not even try.
Again, this false understanding can serve as an excuse to not work hard at something.
Perception of talent, what it is and where it comes from, influences how we as individuals or as a people perceive our own capability for success in a particular field. It is one of many false constructs which discourage people from having ambitions, let alone pursuing them. It becomes an excuse for inaction.
Successful individuals share not only vision and aspiration, but an intrinsic desire to work at what they love. The desire to work at what one loves drives an individual to work intently and intensively over long periods. But simply putting in the time is not enough. Expert performance is not an outcome based solely on the amount of practice, such as the well-documented 10,000 hour principle (Simon & Chase, 1973), but rather is profoundly influenced by the quality of that practice (Ericsson, Krampe, & Tesch-Romer, 1993), and the desire to do so.
Perhaps even more relevant than Ericsson’s infamous research showing that it is the quality of practice that determines performance expertise, recent research finds that certain individuals may be predisposed, at birth, with the DNA for deep practice (Hambrick & Tucker-Drob, 2015). These individuals have an innate desire to go deep, to focus intensely. Spending energy on work they love gives them energy in return. As a result, ‘talent’ is increased.
It appears it’s not the hard work alone, but the desire to work hard that counts. It is my belief that this can be cultivated. This has been my experience.
There are many variables to be considered in the research into talent and it remains a complex scientific issue. Researchers in behavioral and cognitive sciences are just beginning to take into account the differences between ‘musicians’ and ‘improvising musicians’, which I feel is an important distinction.
In addition to deliberate practice and environmental factors, future research must consider improvisational musicians and many other variables as well, including “heritable traits such as general intelligence, and task and situational factors that may moderate effects of individual-difference variables on performance” (Hambrick, et al., 2013, p. 10).
If the notion that talent is bestowed at birth, then it follows that not having talent is bestowed at birth. Personally, I refuse to accept the notion of predetermined failure. There is much to be learned from making a commitment to work and following through, in any domain. Diligent, heart-felt, deliberate and properly guided work does in fact lead to improvement. In addition, the internal skills and disciplines are transferable. That is, they are applicable and beneficial to a wide range of life’s tasks and encounters.
Whatever one believes about talent, whether we have a fixed mindset or a growth mindset is what largely determines our attitude towards success in any endeavor (Dweck, 2006).
This is not to say that anyone can be an expert in anything. It is to say that the traditional notion of talent, that one was born to be a mathematician, say, serves as an excuse for so many to not even try. It creates the internal belief that one is not good enough or not as good as someone else who appears to have said skill. Later, the individual may take refuge in this perceived weakness. This is a sad waste of human potential, particularly when understood in the light that it is in the reaching, in the trying, that one learns and is transformed the most.
Children who are given the chance to develop a sense of personal agency have a sense of self-determination and personal responsibility. Given the opportunity to explore their own curiosities, to experiment, take things apart, try, fail, try again, see a variety of perspectives, etc., they are more likely to be adventurous and creative adults who possess critical thinking skills and demonstrate personal responsibility.
Autonomous exploration in the formative years instills a natural desire to personally invest in work we love. Intrinsic motivation is a powerful driver for personal success. We may work at something for reasons of personal gain, external rewards, pressures, or for a particular outcome, but the most rewarding reason is for the sheer love of doing it (Deci et al., 1991).
What motivates us is relevant to our musical and personal goals. Because we love to do what we do, we do it with fervor and intensity. We are able to overcome obstacles. And since we work deliberately and intensely, we achieve real results, and this outcome is what people call talent. Practice based solely on desired outcomes is seldom enough of a motivator for sustained effort on the instrument. It goes deeper than that.
We can instead cultivate our own desire for learning; an affinity for seeing and making connections, for understanding and continued self-improvement. It is an attitude synonymous with how we engage with the world at large, that is, whether we view experiences as challenges to be won or challenges to be learned from.
Deliberate practice and cognitive capacity
Once we have created the space in our lives for regular practice, we naturally want to make the most of that time. To do that, it is important to understand the role we play in our practice.
This often overlooked component of the process, us, is of the utmost importance. We alone are responsible for the immediate and focused direction of the brain’s executive function during practice.
We encounter a variety of practice situations that serve different purposes. Since the primary function of the instrument is to be part of the rhythm section of a group, much of our practice is done in that context, with other musicians creating or preparing material for future performances. Other times we may work out detailed arrangements, or create improvised pieces around a loose form or structure. We may work with individuals in sectional rehearsals; other times we work on our parts alone. We also devote time to the full spectrum of our overall improvement on the instrument.
Whatever the context might be, it is important to remember that getting something ‘right’ is just the beginning. Practice goes far beyond putting notes in a proper sequence. It ought to center around making whatever we play feel really good. Success in this area comes from the development of our touch, which requires exceptional hearing and finely developed sensibilities. It requires that we think in more than one or two dimensions.
Tone, dynamics, phrasing and feel, all aspects of touch, make up the larger aspects of our sound and as such, demand a good amount of attention.
Much of the time, the types of solo practice we do fit within a few broad categories. In general, our primary focus can be on (a) technical skill: technique, control, speed, efficiency, etc., (b) musicality: touch, feel, phrasing, spacing, clarity, intuition, listening, repertoire, musical knowledge and awareness, new patterns, rhythms, grooves, etc., (c) creativity: application of knowledge in a novel way that adds value; includes improvisational work, (d) maintenance: the general review and sustaining of learned skills, or (e) free play or stream of consciousness; jamming alone or with other musicians.
While focusing on these types of practice is beneficial in those areas, it is the conscious engagement of our faculties which we use to do so that has the most profound impact on the larger cognitive function used for music-making.
The degree of thought and painstaking attention devoted to the minutia of practice enlarges the capacity for ideas, for being present, for intuition and expression. In particular, play, or free play, is extremely useful to apply and advance creative ideas. Free play helps us make connections between the sub-conscious and conscious through the creation of new neural circuits.
We also gain knowledge and expand possibilities through the practice and internalization of external factors, such as experimenting with tuning, heads, trying new cymbals, as well as listening to music, attending performances and reading books.
The practice of being present is of great value no matter what we are doing.
Mental energy, concentrated and directed mindfully, sourced from self-awareness, greatly expands cognition, imagination, clarity of perception and musical mastery. The act of being mindful of our actions is, of course, a conscious decision. That is to say, it is deliberate.
Conscious and determined efforts, directed at countless details in support of larger goals, are essential components for success in any worthwhile endeavor. Whether committing to practice, making time for practice, choosing what to practice, and of course during practice itself, engaged efforts that are conscious, determined and acted upon in the moment have a profound and positive influence. These efforts result in outcomes well beyond their original intent.
Collins English Dictionary (Collins English Dictionary - Complete and Unabridged 12th edition, 2014) defines deliberate as actions that are:
There is a direct link between self-awareness and directing attention. In his book A Guide for the Perplexed, E. F. Schumacher claims that without mental control over our own attention, we are “not doing things, they simply happen” (1977, p. 67). When we master our power of self-awareness, he says, it is the difference “between living and being lived” (p. 67).
Deliberate practice is a powerful and essential strategy. We summon and direct all of our attention, all of our mental energy. It is a deliberate action by which we take control of our faculties and direct attention to points of our choosing, intentionally identifying problem areas and taking thoughtful steps to correct them. It is a process of inquiry by which we are continually finding and solving problems.
Properly done, practice that is deliberate requires substantial mental effort and consumes a lot of our energy. This energy is a finite resource and the work is demanding. There is a limit to how long such an intensive level of attention can be effectively sustained over one practice session, but over time the practice of working at this level becomes somewhat easier and may be lengthened. Proper rest, guidance, feedback and support are essential partners.
A core element of deliberate practice is that we work very slowly. This takes getting used to, and at first everything seems much more challenging when approached slowly. Slow practice lets us see what’s happening in real time, and to take corrective steps in real time. Slow practice illuminates and exposes all aspects of how we are playing. This is an important opportunity that must be taken advantage of. It provides a way of rooting out problem areas, inconsistencies, etc.; it allows us to correct them as they happen, easily and with certainty.
Deliberate and slow practice is a process by which we polish and hone not only technical skill but our very consciousness and sensibilities. Emptying the mind and making use of all of our faculties in this way increases attentiveness and expands our capacity for observation. It also creates a foundation for real listening. It improves musical ability, fluidity and imagination. Here we can see that this type of practice not only results in improvement of a musical technique or idea, but develops the important internal skills for musicianship and self-mastery.
The practice of intensive, directed attention creates a fertile environment in the brain. Neural activity is synchronized and our capacity for concentration is intensified. Emptying the mind of all but the objects of our focus widens and strengthens our capacity for attentiveness. It grants us access to our entire being, the very state we seek for music-making.
Here are some examples of ways in which we can direct our attention while practicing. However, each of us must find our own areas for directing attention at any given time. In this type of intensive practice, it is of utmost importance to be clear about what we are trying to do and take action accordingly. Once we play a pattern or idea ‘correctly’, the real work begins:
It should be noted that these are not intended to be suggestions of ‘what’ to practice; but rather, examples of ways to direct attention and mental energy in real time while playing very slowly. Depending on what we are practicing and our individual abilities, the specific areas to where we direct attention may change.
The takeaway is to make the most of our awareness to observe, root out problem areas and align our playing using our maximum sense potential and create a musical result. As sensibilities grow, our abilities grow, and vice versa.
Meaningful practice involves a lot more than simple repetition. Simple repetition does not consider our role in the moment to moment work we do.
At its core, practice consists of using self-awareness to make assessments at every level in real time, directing attention and making changes so we can do something we previously could not do. We must make changes internally as we work to bring about changes in our playing.
We are the most important component of practice. We are the instrument which we are attempting to master. This insight offers a valuable opportunity for growth through the drumset. By taking responsibility for our actions we have more control over the outcome, and that the changes we make internally share a direct link with our future abilities.
We may have come to understand practice as simply work that focuses on external factors like chops, technique or parts, practiced through repetition. Although working on these external aspects is necessary, they represent an incomplete picture of what we need for adaptable, intuitive and skillful musicianship. They represent only the visible, bodily aspects. What lies behind all we do is our own capacity for self-direction.
The work we do in practice involves much more than simply the visible aspects that lie before us. Deliberate practice makes use of such internal parts as:
Each of the five excuses for not practicing outlined at the beginning of this section place blame outside of our personal sphere. By contrast, deliberate practice is entirely within our cognitive realm. We make use of all that is invisible within us, and connect with outcomes via a discipline of cognitive awareness.
Isn’t it our personal responsibility to take cognitive control of our work like never before? Isn’t it personal accountability to truthfully assess moment to moment and hold ourselves to a higher standard with every note we play?
Creative drumming seldom involves replication or interpretation of a written score, such as a classically trained musician, a cover band drummer or theatrical musician. We not only rely on technical facility arising from physical and mental control, but also require experience, flexibility, intuition, big ears and cognitive skills on-the-fly. We use these skills to communicate, collaborate, improvise, support, embellish, to lead. Deliberate practice completely engages us in developing these higher order executive skills.
Making creative music necessitates that we bring together all of our sensibilities and experience in an intuitive way to play what is right at that moment. A creative performance is neither the time nor the place for deliberate action, planning, etc. Playing creative, improvised drums is frequently not a matter of executing a specific part that we’ve previously rehearsed and perfected.
Much of the time our part is loosely structured around a rhythmic and harmonic motif.
Beyond formalized structure, what we play flows from our intuition. It is the complex combination of the limits of our sensory perception, our experience with the creative and cultural milieu, input from our own sound, input from the other musicians, the acoustics of the room and certainly energy from the audience.
The stage is a space where collaborators bring together their own sensibilities in service of the music.
The stage can be a metaphor for the creative space we have within us. Essentially, it is our potential. Our cognitive capacity is a staging area, a wide, empty space where the interplay of the complex combination of our experience, our intuition, our facility, where listening and our collaborative spirit converge in the immediate moment of music.
Unfettered, unblocked, free of distractions - all that is internal and external require vast, unobstructed cognitive space within which to freely play. During music-making we are free from self-conscious direction and we immediately have access to all that we are up to that moment. It is when we cannot freely access all our un-conscious sensibilities that we struggle with a performance. The more open, receptive and accessible our abilities are within that space, the more we are able to play with ease, comfort, and creativity.
We want to work to create the space within ourselves where these complex sensibilities can be released from self-directed critiques; space where they can combine and synchronize in immediate service to musical creativity, unleashed from the evaluations and assessments of the practicing mind. Some may use drugs or alcohol to accomplish this goal, but deep and mindful practice is not only cheaper, it is much more useful and better for health.
When we switch from practicing to making music, our mental ‘tasks’ cease and the being-state is activated. The engagement of our self-conscious mind is released from its deliberate cognitive function. While playing music, we no longer direct the intensive level of conscious criticism toward ourselves. Instead, and this is very important, these invaluable cognitive resources, when released from their more deliberate function, become available for the playing of music.
Now freed from its humble chores, the cognitive capacity we develop during deliberate practice becomes potential for creative, collaborative music-making. We can now be entirely present in the moment, with all of the sensibilities we developed in practice now wide open for listening, responding, supporting, and communicating.
When playing music, we all wish to be in the zone, unencumbered by thoughts, judgments and distractions. This includes freedom from distractions of the instrument itself or distractions regarding our own ability; freedom from judging the ‘quality’ of our music and any other detractive self-criticisms.
Goals
Goals emerge as paths which lead from ideas of what could be possible. Goals make it possible to create a strategy for working. Goals are a way of connecting the present with the future.
Simple, complex and everything in between, they help us get from point A to point B. Finding the path from a starting point to a destination requires knowing both where we are and where we wish to go. We can’t determine how to get somewhere if we don’t know where we are.
Setting goals forces us to think hard about our past, our future, our present. Conversely, objective assessment of our present state or ability plays a big part in setting goals. A clear-eyed assessment of our resources up to this point helps us define what actions to take, what possibilities there may be, and how to use what we have to get something we don’t.
Once defined, we must determine strategies, locate resources and take steps each day directed toward the goal. Destinations are not reached simply by having goals, but by taking concrete steps every single day in their direction.
Aspects of our goals may shift as we go along, and we must discern and assess possibilities as they arise.
At the same time we may need to be careful not to constantly and drastically change the goal whenever difficulties arise, otherwise we will never reach any of them. Difficulties are part of the process of exploration into the unknown. Challenges and uncertainty open up the potential for divergent possibilities.
Goals are a form of potential. Although goals are outcome-centric, there is much to learn in the strategies we develop and use along the way. They represent unrealized outcomes from which we develop strategies for how we use our time, energy and resources to create a better future.
This is not to say that our destinations are the final achievement, for there is no absolute final destination. There are only increments, discoveries, risks and failure, all of which are opportunities for learning, each of which open up more possibilities. Although it is extremely helpful, we mustn’t always have goals in order to take the first steps. Usually, the very act of beginning opens possibilities.
Certainly, achieving the things we set out to achieve is important. Far more useful is to know that the greatest value is gained through the act of reaching, in the processes and hard work of being, of doing. In the temerity of stepping into uncertainty in spite of it, in pressing ahead despite our fears, risks of failure or vulnerability is to reach with all that we are.
Setting smaller, incremental goals that are just beyond the current limits of our ability provide reachable targets while steadily building improvements. This is the sweet spot. This strategy keeps us moving forward. Through self-monitoring or with the supervision of a good teacher, we decide when it is the appropriate time to advance to more complex work.
It is not imperative that we have goals in order to take action, but it certainly helps. Sometimes we need to take some steps first to then choose a proper path. We may not know where to begin or perhaps it is unclear how to channel our efforts in a way that is best for us. This is normal and must not prevent us from taking action. This uncertainty must not prevent us from starting. If we wait for all the pieces to be perfectly in place before acting, we will likely have a long wait and opportunities will be lost.
We may find that we want to begin but have not yet clarified our goals. This is common and need not prevent us from setting out. The way forward is revealed by beginning. Wherever we are is the place from where we must begin, using whatever tools we have. Even when facing uncertainty, by simply beginning, by starting to work, we formulate questions, and we begin to see a path to the answers. Things become clearer. Questions become sharper.
Doing nothing is not an option. It’s an excuse.
Thanks for reading.
--Brett F. Campbell, 2021
References
Collins English Dictionary - Complete and Unabridged 12th edition. (2014). Retrieved October 1, 2016, from The Free Dictionary: http://www.thefreedictionary.com/deliberate
Deci, Vallerand, Pelletier, & Ryan. (1991). Motivation and education: The self-determination perspective. Educational psychologist, 26 (3&4), 325-346.
Dweck, C. (2006). Mindset: The new psychology of success. New York: Random House.
Ericsson, K. A., Krampe, R. T., & Tesch-Romer, C. (1993). The Role of deliberate practice in the acquisition of expert performance. Psychological review, 100(3), 363-406.
Hambrick, D. Z., Oswald, F. L., M.Altmann, E., J.Meinz, E., Gobet, F., & Campitellie, G. (2013). Deliberate practice: Is that all it takes to become an expert? Intelligence, 34-45. doi:10.1016/j.intell.2013.04.001
Hambrick, D., & Tucker-Drob, E. (2015). The genetics of music accomplishment: Evidence for gene-environment correlation and interaction. Psychonomic Bulletin and Review, 112-120.
Schumacher, E. F. (1977). A guide for the perplexed. New York: Harper Perennial.
Simon, H. A., & Chase, W. G. (1973). Perception in chess. Pittsburg: Carnegie-Mellon.
Wilf, E. Y. (2014). School for cool: The academic jazz program and the paradox of institutionalized creativity. Chicago: University of Chicago Press.
For many, the mere thought of practice brings to mind a range of emotional responses, typically negative. We may view practice as a boring and repetitive activity that yields few positive results. We may think of practice as grueling work and would rather visit the dentist. Or perhaps we understand the benefits of practice, but never create the time or resources to actually do it. Maybe we feel stuck and overwhelmed because we do not know what to work on or where to begin. Or my favorite, we may believe that practicing hinders creativity and that in the course of learning we will somehow become soulless robots playing cookie cutter music. Excuses. All of them.
Here we will briefly address some common perceptions regarding practice.
1. Practice is boring repetition. I do it but I don’t seem to get much better. If our practice consists of nothing more than mere repetition, then yes, by all means it’s boring. Mindlessly repeating patterns on a pad while cognitively engaged in a different activity such as watching TV confirms the belief that practice is boring.
Even worse, when we are not mindfully engaged with the work, we end up reinforcing our present way of playing. In this way we make our mistakes permanent, and subsequently see little or no improvement. Simple repetition without the necessary mental engagement prevents us from identifying problems and making the changes needed to improve.
It is not surprising then, that we rarely see actual improvements in our playing and that our bad habits become more ingrained. In addition, the lack of noticeable improvement from this type of practice is a disincentive for further effort. When we fail to see improvement, it diminishes motivation for further practice. If we find practice boring, we are doing it wrong.
We must take responsibility and engage ourselves with the work. Making improvement is not something that happens magically simply by repeating things. It takes awareness.
2. Practice is grueling work and I’d rather be at the dentist. Doing something we already know how to do is easy, right? Our brain is conditioned to recognize familiarity, which means we may feel discomfort when learning something new and unfamiliar. But repeating what we already can play well is not learning. Staying in the comfort zone may feel safe and comfortable, but learning means to reach beyond our present abilities. We have to learn to live in this place.
To grow we need to challenge our perceived limitations. The trick is to get comfortable with reaching and to welcome new experiences. Learning something new takes effort - it requires the desire to improve musical performance through mental engagement. Doing the difficult work of learning new things is inherently challenging and may even be unpleasant. It’s normal. Yet seeing real results motivates us. When we see real improvement we develop an interest in learning and motivation becomes intrinsic.
3. Practicing hinders creativity. In the course of learning we will somehow become soulless music robots. The truth is, practice that focuses solely on the technical does yield a technical type of player. Music school students struggle with real creativity because creativity has become institutionalized. Academic jazz programs de-contextualize past jazz masters’ improvisations, and the very practices that attempt to close the gap between the theoretical and the creative actually widen it (Wilf, 2014). The truth is that working on only music theory and technique will in fact result in less than creative musicianship.
There is no shortage of soulless musical robots, but the learning of theory and technique is not the reason. It must be done within a well-rounded creative & musical context. One must develop skills for improvising, which is another word for problem-solving. Guidance and knowledge, while essential, cannot replace the cultivation of imagination and creativity which comes from contextual, autonomous exploration (years of listening and internalizing) of all aspects of music, of ourselves and of the instrument. Autonomous exploration - working on our own to make our own connections through trial and error - educes rational inquiry, which promotes imagination and creativity. It is the only way to develop our unique voice.
Too often, musicians lack imagination and do not properly develop the intuition to apply learned knowledge creatively, contextually. While most creative and inspiring musicians we know have likely practiced more than the rest, they also possess imagination and bravery. They experiment and understand context; they have a deep curiosity for the music and for what could be possible. This is what drives them. They are willing to explore, take more risks, and make connections. They actively pursue their creative instincts, are driven to keep going, and push themselves, even though they may be vulnerable to criticism. Learning the tradition ought to inform creativity, not limit or define it.
Whether paying money for a good teacher, expensive drums and cymbals, we nevertheless must work hard on our own. We must put in the difficult work; apply our internal skills in ways we might not yet fully understand.
4. I know practice is important but I can’t find the time to do it on a regular basis. “Who has two or more hours each day to devote to the drumset? I only want to play music. I have to work every day to make money for my house, my car, my vacations, dining out, gadgets and so forth.”
Here’s a subjective question to ponder. Which holds more value, time or money? Although money is a necessity, time gets us the things money cannot buy. You can’t buy musicianship. We must carve the time for practice within the limited time available.
In daily life we systematically make choices between activities which get us either closer to or further from our goals. At first, the choices whether to make time for our drums are a daily struggle. Spending our resources, time and money on hedonic pursuits such as restaurants and never-ending consuming requires that we work more at a day job to earn the money to spend on those activities. Instead of thinking in terms of making more money, find ways to need less of it. By compromising, giving up excessive behavior that does not get us to our goal, we can have more time to do what is most important to us. It gets easier as music-related activities take priority.
Doing nothing to positively change the situation blocks our creative energy. We may feel stress, even guilt when we are not devoting our efforts to what we love most. For some of us, the demands on time and resources which come from family responsibilities, our economic situation or cultural expectations are powerful roadblocks.
For some, these perceived roadblocks can be an excuse not to actually face our discipline, to face the reality of our abilities and our efforts. It’s easy to say we would be *blank* only if we had *blank*. That’s self-deception.
For the rest of us, we can find ways to make more efficient use of our time and expenses while acting on our priorities. It is a matter of making it happen, little by little. We will not someday be given more time, but we can, and must, make time in the time we already have.
5. I don’t know what to practice or where to begin. With all the books, videos, clinic drummers, the masters, and more than 100 years of music available as resources it can be overwhelming and confusing. Where to start? How to keep going? How do we know which path is the best? These are all ways of looking for answers externally, when in fact the answers are internal.
To be honest, not knowing where to start is the lamest excuse for not starting.
We must begin. Begin from where we are. Start doing it. Start walking. We need not, and simply cannot, figure everything out before we begin to act. Beware of ‘answers’ given by others which do not enable us to find what works for us. Playing quarter-notes at 54 bpm is a great place to start. Use your faculties to create your own path. As you go, it becomes clear.
Beginning lessons with a teacher, mentor or working on our own does not have to mean strict adherence to a methodology of learning double-strokes, paradiddles, etc., going step by step through rudiments and technique, up some imaginary ladder of progress. That may be part of the reason we cannot get started - there is no connection with the internal sensibilities we use to make music.
Rudiments and technique are very important, but what is missing is the musical context, the immersion in the music, and our own involvement in the work. Immersion helps to connect the many details which make up the big picture. Musical context inspires and provides meaningful application for the details. There are many paths. An experienced, empathetic teacher, someone who knows how to teach and how to meet us where we are, can guide us in choosing the path that is best for us at this point in time.
With or without a teacher, we are the ones who must begin; we must do the work each day. We have no other choice but to begin from where we are now. Make our own connections; see the big picture while working on the details. The path reveals itself, but only if we take responsibility and start the journey.
Talent
It is a common belief that talent is determined at birth; that someone is either born with or without natural talent for a given field or activity. We come to believe that one either has talent or one does not. While it is true that one may be born with certain aptitudes and proclivities, the belief that someone simply does not have what it takes to be good at something predisposes us to believe that success is pre-determined and unattainable, so therefore we need not even try.
Again, this false understanding can serve as an excuse to not work hard at something.
Perception of talent, what it is and where it comes from, influences how we as individuals or as a people perceive our own capability for success in a particular field. It is one of many false constructs which discourage people from having ambitions, let alone pursuing them. It becomes an excuse for inaction.
Successful individuals share not only vision and aspiration, but an intrinsic desire to work at what they love. The desire to work at what one loves drives an individual to work intently and intensively over long periods. But simply putting in the time is not enough. Expert performance is not an outcome based solely on the amount of practice, such as the well-documented 10,000 hour principle (Simon & Chase, 1973), but rather is profoundly influenced by the quality of that practice (Ericsson, Krampe, & Tesch-Romer, 1993), and the desire to do so.
Perhaps even more relevant than Ericsson’s infamous research showing that it is the quality of practice that determines performance expertise, recent research finds that certain individuals may be predisposed, at birth, with the DNA for deep practice (Hambrick & Tucker-Drob, 2015). These individuals have an innate desire to go deep, to focus intensely. Spending energy on work they love gives them energy in return. As a result, ‘talent’ is increased.
It appears it’s not the hard work alone, but the desire to work hard that counts. It is my belief that this can be cultivated. This has been my experience.
There are many variables to be considered in the research into talent and it remains a complex scientific issue. Researchers in behavioral and cognitive sciences are just beginning to take into account the differences between ‘musicians’ and ‘improvising musicians’, which I feel is an important distinction.
In addition to deliberate practice and environmental factors, future research must consider improvisational musicians and many other variables as well, including “heritable traits such as general intelligence, and task and situational factors that may moderate effects of individual-difference variables on performance” (Hambrick, et al., 2013, p. 10).
If the notion that talent is bestowed at birth, then it follows that not having talent is bestowed at birth. Personally, I refuse to accept the notion of predetermined failure. There is much to be learned from making a commitment to work and following through, in any domain. Diligent, heart-felt, deliberate and properly guided work does in fact lead to improvement. In addition, the internal skills and disciplines are transferable. That is, they are applicable and beneficial to a wide range of life’s tasks and encounters.
Whatever one believes about talent, whether we have a fixed mindset or a growth mindset is what largely determines our attitude towards success in any endeavor (Dweck, 2006).
This is not to say that anyone can be an expert in anything. It is to say that the traditional notion of talent, that one was born to be a mathematician, say, serves as an excuse for so many to not even try. It creates the internal belief that one is not good enough or not as good as someone else who appears to have said skill. Later, the individual may take refuge in this perceived weakness. This is a sad waste of human potential, particularly when understood in the light that it is in the reaching, in the trying, that one learns and is transformed the most.
Children who are given the chance to develop a sense of personal agency have a sense of self-determination and personal responsibility. Given the opportunity to explore their own curiosities, to experiment, take things apart, try, fail, try again, see a variety of perspectives, etc., they are more likely to be adventurous and creative adults who possess critical thinking skills and demonstrate personal responsibility.
Autonomous exploration in the formative years instills a natural desire to personally invest in work we love. Intrinsic motivation is a powerful driver for personal success. We may work at something for reasons of personal gain, external rewards, pressures, or for a particular outcome, but the most rewarding reason is for the sheer love of doing it (Deci et al., 1991).
What motivates us is relevant to our musical and personal goals. Because we love to do what we do, we do it with fervor and intensity. We are able to overcome obstacles. And since we work deliberately and intensely, we achieve real results, and this outcome is what people call talent. Practice based solely on desired outcomes is seldom enough of a motivator for sustained effort on the instrument. It goes deeper than that.
We can instead cultivate our own desire for learning; an affinity for seeing and making connections, for understanding and continued self-improvement. It is an attitude synonymous with how we engage with the world at large, that is, whether we view experiences as challenges to be won or challenges to be learned from.
Deliberate practice and cognitive capacity
Once we have created the space in our lives for regular practice, we naturally want to make the most of that time. To do that, it is important to understand the role we play in our practice.
This often overlooked component of the process, us, is of the utmost importance. We alone are responsible for the immediate and focused direction of the brain’s executive function during practice.
We encounter a variety of practice situations that serve different purposes. Since the primary function of the instrument is to be part of the rhythm section of a group, much of our practice is done in that context, with other musicians creating or preparing material for future performances. Other times we may work out detailed arrangements, or create improvised pieces around a loose form or structure. We may work with individuals in sectional rehearsals; other times we work on our parts alone. We also devote time to the full spectrum of our overall improvement on the instrument.
Whatever the context might be, it is important to remember that getting something ‘right’ is just the beginning. Practice goes far beyond putting notes in a proper sequence. It ought to center around making whatever we play feel really good. Success in this area comes from the development of our touch, which requires exceptional hearing and finely developed sensibilities. It requires that we think in more than one or two dimensions.
Tone, dynamics, phrasing and feel, all aspects of touch, make up the larger aspects of our sound and as such, demand a good amount of attention.
Much of the time, the types of solo practice we do fit within a few broad categories. In general, our primary focus can be on (a) technical skill: technique, control, speed, efficiency, etc., (b) musicality: touch, feel, phrasing, spacing, clarity, intuition, listening, repertoire, musical knowledge and awareness, new patterns, rhythms, grooves, etc., (c) creativity: application of knowledge in a novel way that adds value; includes improvisational work, (d) maintenance: the general review and sustaining of learned skills, or (e) free play or stream of consciousness; jamming alone or with other musicians.
While focusing on these types of practice is beneficial in those areas, it is the conscious engagement of our faculties which we use to do so that has the most profound impact on the larger cognitive function used for music-making.
The degree of thought and painstaking attention devoted to the minutia of practice enlarges the capacity for ideas, for being present, for intuition and expression. In particular, play, or free play, is extremely useful to apply and advance creative ideas. Free play helps us make connections between the sub-conscious and conscious through the creation of new neural circuits.
We also gain knowledge and expand possibilities through the practice and internalization of external factors, such as experimenting with tuning, heads, trying new cymbals, as well as listening to music, attending performances and reading books.
The practice of being present is of great value no matter what we are doing.
Mental energy, concentrated and directed mindfully, sourced from self-awareness, greatly expands cognition, imagination, clarity of perception and musical mastery. The act of being mindful of our actions is, of course, a conscious decision. That is to say, it is deliberate.
Conscious and determined efforts, directed at countless details in support of larger goals, are essential components for success in any worthwhile endeavor. Whether committing to practice, making time for practice, choosing what to practice, and of course during practice itself, engaged efforts that are conscious, determined and acted upon in the moment have a profound and positive influence. These efforts result in outcomes well beyond their original intent.
Collins English Dictionary (Collins English Dictionary - Complete and Unabridged 12th edition, 2014) defines deliberate as actions that are:
- adj: intentional, meant, planned, considered, studied, designed, intended, conscious, calculated, thoughtful, willful, purposeful, premeditated, prearranged, done on purpose The attack was deliberate and unprovoked. opposites: unconscious, accidental, unintended, inadvertent, unthinking, unpremeditated
- careful, measured, slow, cautious, wary, thoughtful, prudent, circumspect, methodical, unhurried, heedful His movements were gentle and deliberate. opposites: fast, hurried, rash, hasty, impulsive, haphazard, casual, impetuous, heedless
- v.: to consider, think, ponder, discuss, debate, reflect, consult, weigh, meditate, mull over, ruminate, cogitate • The jury deliberated for two hours before returning with the verdict.
There is a direct link between self-awareness and directing attention. In his book A Guide for the Perplexed, E. F. Schumacher claims that without mental control over our own attention, we are “not doing things, they simply happen” (1977, p. 67). When we master our power of self-awareness, he says, it is the difference “between living and being lived” (p. 67).
Deliberate practice is a powerful and essential strategy. We summon and direct all of our attention, all of our mental energy. It is a deliberate action by which we take control of our faculties and direct attention to points of our choosing, intentionally identifying problem areas and taking thoughtful steps to correct them. It is a process of inquiry by which we are continually finding and solving problems.
Properly done, practice that is deliberate requires substantial mental effort and consumes a lot of our energy. This energy is a finite resource and the work is demanding. There is a limit to how long such an intensive level of attention can be effectively sustained over one practice session, but over time the practice of working at this level becomes somewhat easier and may be lengthened. Proper rest, guidance, feedback and support are essential partners.
A core element of deliberate practice is that we work very slowly. This takes getting used to, and at first everything seems much more challenging when approached slowly. Slow practice lets us see what’s happening in real time, and to take corrective steps in real time. Slow practice illuminates and exposes all aspects of how we are playing. This is an important opportunity that must be taken advantage of. It provides a way of rooting out problem areas, inconsistencies, etc.; it allows us to correct them as they happen, easily and with certainty.
Deliberate and slow practice is a process by which we polish and hone not only technical skill but our very consciousness and sensibilities. Emptying the mind and making use of all of our faculties in this way increases attentiveness and expands our capacity for observation. It also creates a foundation for real listening. It improves musical ability, fluidity and imagination. Here we can see that this type of practice not only results in improvement of a musical technique or idea, but develops the important internal skills for musicianship and self-mastery.
The practice of intensive, directed attention creates a fertile environment in the brain. Neural activity is synchronized and our capacity for concentration is intensified. Emptying the mind of all but the objects of our focus widens and strengthens our capacity for attentiveness. It grants us access to our entire being, the very state we seek for music-making.
Here are some examples of ways in which we can direct our attention while practicing. However, each of us must find our own areas for directing attention at any given time. In this type of intensive practice, it is of utmost importance to be clear about what we are trying to do and take action accordingly. Once we play a pattern or idea ‘correctly’, the real work begins:
- Listen carefully, hear everything clearly. Continuously develop your hearing.
- Direct attention to the movement of each limb, and work to improve the sound quality of each note resulting from that movement.
- Work towards a comfortable control of the sticks, the strokes and all movements. Apply previously learned techniques to new work.
- Find the source of any unnecessary tension wherever it may be and let it go.
- Movements should integrate the precise moments where tension is released.
- Use only the minimum amount of energy required and nothing more.
- Control the dynamic level of each note in real time.
- Keep accented and unaccented notes consistent.
- Precisely identify and physically feel each beat, one at a time.
- Measure the space between the beats with your movements.
- Let subdivisions fall comfortably between the beats, without rushing, hesitation or doubt.
- Fine tune subdivisions at will and play with spacing.
- Settle in with time; let the metronome become part of the rhythm (click on ‘2’ and ‘4’).
- Create a feeling of fluidity in movement, feel the pattern as one entity, orchestrated by the unification of body, mind and instrument.
- Bring the different parts of the instrument together using touch, creating the sound of one instrument, not a ‘collection’ of differing sounds.
- Observe how posture is related to the internal, emotional state, and how posture strongly influences the ability to relax, to play easily and comfortably, and how it influences tone and musical attitude.
- Use of the voice to count each beat out loud is a link to internal time, and helps identify each beat deeply.
- Before practicing a pattern, work out all the types of strokes that are required to play the rhythm at faster tempo. Use the type of stroke or technique that is required to play fast while playing slow (down, tap, up or full strokes).
- When practicing polyrhythms at very slow tempo, hear and feel each time signature.
- Look from one time signature into the other; mentally juxtapose one time signature while playing in the other. Listen in a multi-dimensional way.
- Hear and understand rhythms from different perspectives. Listen from different angles.
- Create strategies for correcting errors. Make changes, try different approaches. Continuous repetition of errors makes them more difficult to correct.
- Use self-directed awareness; control where your attention is going at every moment.
- Place mental focus on one beat, one accent, on one part of the rhythm. Hear its relationship with the other notes in the rhythm. Focus on one detail yet observe context.
- Gradually widen focus to perceive the rhythm in its entirety, expand focus to perceive its musical context, continually making adjustments along the way. Hear the contour of one, two or four bar phrases.
- Use touch (control of tone, dynamics and spacing) to blend the different voices with each other into a cohesive rhythmic/melodic line. Work to connect the notes.
- Slowly practice linear patterns (few if any voices overlap), accents and independent dynamics to create an uninterrupted flowing line that connects different voices.
- Create a continuous flow of one note into the next, not by imposing the notes upon an imaginary ‘grid’, but by their musical relationship and contribution to the whole. Work with different weights, colors or shapes.
- Mindfully shape the contour of the rhythm to bring out its inherent characteristics in a natural and meaningful way.
- Hear the relationship between what we just played with what we are about to play, especially when improvising. Dialog, converse, develop.
It should be noted that these are not intended to be suggestions of ‘what’ to practice; but rather, examples of ways to direct attention and mental energy in real time while playing very slowly. Depending on what we are practicing and our individual abilities, the specific areas to where we direct attention may change.
The takeaway is to make the most of our awareness to observe, root out problem areas and align our playing using our maximum sense potential and create a musical result. As sensibilities grow, our abilities grow, and vice versa.
Meaningful practice involves a lot more than simple repetition. Simple repetition does not consider our role in the moment to moment work we do.
At its core, practice consists of using self-awareness to make assessments at every level in real time, directing attention and making changes so we can do something we previously could not do. We must make changes internally as we work to bring about changes in our playing.
We are the most important component of practice. We are the instrument which we are attempting to master. This insight offers a valuable opportunity for growth through the drumset. By taking responsibility for our actions we have more control over the outcome, and that the changes we make internally share a direct link with our future abilities.
We may have come to understand practice as simply work that focuses on external factors like chops, technique or parts, practiced through repetition. Although working on these external aspects is necessary, they represent an incomplete picture of what we need for adaptable, intuitive and skillful musicianship. They represent only the visible, bodily aspects. What lies behind all we do is our own capacity for self-direction.
The work we do in practice involves much more than simply the visible aspects that lie before us. Deliberate practice makes use of such internal parts as:
- personal discipline
- focus / directed mental energy
- fine listening
- determination
- presence of mind
- access to all the bodily, intellectual and intuitive senses (see addendum i and iv)
- finely developed senses and sensibilities
- access to experience
- problem-finding / problem-solving skill
- strategies for working
- cultural awareness
- adaptability and flexibility – the ability to change
Each of the five excuses for not practicing outlined at the beginning of this section place blame outside of our personal sphere. By contrast, deliberate practice is entirely within our cognitive realm. We make use of all that is invisible within us, and connect with outcomes via a discipline of cognitive awareness.
Isn’t it our personal responsibility to take cognitive control of our work like never before? Isn’t it personal accountability to truthfully assess moment to moment and hold ourselves to a higher standard with every note we play?
Creative drumming seldom involves replication or interpretation of a written score, such as a classically trained musician, a cover band drummer or theatrical musician. We not only rely on technical facility arising from physical and mental control, but also require experience, flexibility, intuition, big ears and cognitive skills on-the-fly. We use these skills to communicate, collaborate, improvise, support, embellish, to lead. Deliberate practice completely engages us in developing these higher order executive skills.
Making creative music necessitates that we bring together all of our sensibilities and experience in an intuitive way to play what is right at that moment. A creative performance is neither the time nor the place for deliberate action, planning, etc. Playing creative, improvised drums is frequently not a matter of executing a specific part that we’ve previously rehearsed and perfected.
Much of the time our part is loosely structured around a rhythmic and harmonic motif.
Beyond formalized structure, what we play flows from our intuition. It is the complex combination of the limits of our sensory perception, our experience with the creative and cultural milieu, input from our own sound, input from the other musicians, the acoustics of the room and certainly energy from the audience.
The stage is a space where collaborators bring together their own sensibilities in service of the music.
The stage can be a metaphor for the creative space we have within us. Essentially, it is our potential. Our cognitive capacity is a staging area, a wide, empty space where the interplay of the complex combination of our experience, our intuition, our facility, where listening and our collaborative spirit converge in the immediate moment of music.
Unfettered, unblocked, free of distractions - all that is internal and external require vast, unobstructed cognitive space within which to freely play. During music-making we are free from self-conscious direction and we immediately have access to all that we are up to that moment. It is when we cannot freely access all our un-conscious sensibilities that we struggle with a performance. The more open, receptive and accessible our abilities are within that space, the more we are able to play with ease, comfort, and creativity.
We want to work to create the space within ourselves where these complex sensibilities can be released from self-directed critiques; space where they can combine and synchronize in immediate service to musical creativity, unleashed from the evaluations and assessments of the practicing mind. Some may use drugs or alcohol to accomplish this goal, but deep and mindful practice is not only cheaper, it is much more useful and better for health.
When we switch from practicing to making music, our mental ‘tasks’ cease and the being-state is activated. The engagement of our self-conscious mind is released from its deliberate cognitive function. While playing music, we no longer direct the intensive level of conscious criticism toward ourselves. Instead, and this is very important, these invaluable cognitive resources, when released from their more deliberate function, become available for the playing of music.
Now freed from its humble chores, the cognitive capacity we develop during deliberate practice becomes potential for creative, collaborative music-making. We can now be entirely present in the moment, with all of the sensibilities we developed in practice now wide open for listening, responding, supporting, and communicating.
When playing music, we all wish to be in the zone, unencumbered by thoughts, judgments and distractions. This includes freedom from distractions of the instrument itself or distractions regarding our own ability; freedom from judging the ‘quality’ of our music and any other detractive self-criticisms.
Goals
Goals emerge as paths which lead from ideas of what could be possible. Goals make it possible to create a strategy for working. Goals are a way of connecting the present with the future.
Simple, complex and everything in between, they help us get from point A to point B. Finding the path from a starting point to a destination requires knowing both where we are and where we wish to go. We can’t determine how to get somewhere if we don’t know where we are.
Setting goals forces us to think hard about our past, our future, our present. Conversely, objective assessment of our present state or ability plays a big part in setting goals. A clear-eyed assessment of our resources up to this point helps us define what actions to take, what possibilities there may be, and how to use what we have to get something we don’t.
Once defined, we must determine strategies, locate resources and take steps each day directed toward the goal. Destinations are not reached simply by having goals, but by taking concrete steps every single day in their direction.
Aspects of our goals may shift as we go along, and we must discern and assess possibilities as they arise.
At the same time we may need to be careful not to constantly and drastically change the goal whenever difficulties arise, otherwise we will never reach any of them. Difficulties are part of the process of exploration into the unknown. Challenges and uncertainty open up the potential for divergent possibilities.
Goals are a form of potential. Although goals are outcome-centric, there is much to learn in the strategies we develop and use along the way. They represent unrealized outcomes from which we develop strategies for how we use our time, energy and resources to create a better future.
This is not to say that our destinations are the final achievement, for there is no absolute final destination. There are only increments, discoveries, risks and failure, all of which are opportunities for learning, each of which open up more possibilities. Although it is extremely helpful, we mustn’t always have goals in order to take the first steps. Usually, the very act of beginning opens possibilities.
Certainly, achieving the things we set out to achieve is important. Far more useful is to know that the greatest value is gained through the act of reaching, in the processes and hard work of being, of doing. In the temerity of stepping into uncertainty in spite of it, in pressing ahead despite our fears, risks of failure or vulnerability is to reach with all that we are.
Setting smaller, incremental goals that are just beyond the current limits of our ability provide reachable targets while steadily building improvements. This is the sweet spot. This strategy keeps us moving forward. Through self-monitoring or with the supervision of a good teacher, we decide when it is the appropriate time to advance to more complex work.
It is not imperative that we have goals in order to take action, but it certainly helps. Sometimes we need to take some steps first to then choose a proper path. We may not know where to begin or perhaps it is unclear how to channel our efforts in a way that is best for us. This is normal and must not prevent us from taking action. This uncertainty must not prevent us from starting. If we wait for all the pieces to be perfectly in place before acting, we will likely have a long wait and opportunities will be lost.
We may find that we want to begin but have not yet clarified our goals. This is common and need not prevent us from setting out. The way forward is revealed by beginning. Wherever we are is the place from where we must begin, using whatever tools we have. Even when facing uncertainty, by simply beginning, by starting to work, we formulate questions, and we begin to see a path to the answers. Things become clearer. Questions become sharper.
Doing nothing is not an option. It’s an excuse.
Thanks for reading.
--Brett F. Campbell, 2021
References
Collins English Dictionary - Complete and Unabridged 12th edition. (2014). Retrieved October 1, 2016, from The Free Dictionary: http://www.thefreedictionary.com/deliberate
Deci, Vallerand, Pelletier, & Ryan. (1991). Motivation and education: The self-determination perspective. Educational psychologist, 26 (3&4), 325-346.
Dweck, C. (2006). Mindset: The new psychology of success. New York: Random House.
Ericsson, K. A., Krampe, R. T., & Tesch-Romer, C. (1993). The Role of deliberate practice in the acquisition of expert performance. Psychological review, 100(3), 363-406.
Hambrick, D. Z., Oswald, F. L., M.Altmann, E., J.Meinz, E., Gobet, F., & Campitellie, G. (2013). Deliberate practice: Is that all it takes to become an expert? Intelligence, 34-45. doi:10.1016/j.intell.2013.04.001
Hambrick, D., & Tucker-Drob, E. (2015). The genetics of music accomplishment: Evidence for gene-environment correlation and interaction. Psychonomic Bulletin and Review, 112-120.
Schumacher, E. F. (1977). A guide for the perplexed. New York: Harper Perennial.
Simon, H. A., & Chase, W. G. (1973). Perception in chess. Pittsburg: Carnegie-Mellon.
Wilf, E. Y. (2014). School for cool: The academic jazz program and the paradox of institutionalized creativity. Chicago: University of Chicago Press.
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