“We get messed up because we don’t have a clear image . . . and therefore give ourselves too many conflicting messages about how to play.” -Eloise Ristad A Soprano On Her Head, p. 116-117 When we set out to learn a new piece, it can resemble a romance, and we’re...
“I suppose that when I play in public it looks easy, but before I ever came on the concert stage I worked very hard. And I do yet – but always putting the two things together, mental work and physical work.” -Jascha Heifetz The Musician’s Way, p. 42 The Spring...
“You adapt yourself to the contents of the paintbox.” —Paul Klee, painter The Musician’s Way, p. 121 Like a painter dipping into a limited palette, a musician practicing an isolated part has to adapt to material that’s incomplete. A part played or sung out of context...
“When I sit in Paris in a café, surrounded by people, I don’t sit casually – I go over a certain sonata in my head and discover new things all the time.” —Arthur Rubinstein, pianist The Musician’s Way, p. 34 Like Arthur Rubinstein, countless expert musicians use...
“Meaning, not originality, is what matters most in your day-to-day practice.” -The Musician’s Way, p. 312 Psychologist and author Eric Maisel writes about three types of meaning that people experience in life. One is received meaning, the kind that’s...
