This practice technique is very effective, but it isn’t one you can do yourself. You need a partner, preferably one who you want to emulate. I use this as I teach for both flute and piano, so there are sections in here that just apply to flute alone. The other portions apply to both instruments.
What is it?
Practicing music via osmosis is just playing with someone else. It’s a way to correct mistakes and problems without nitpicking, so I like to use it with a student who seems demoralized. This is for the student who feels that everything they do is wrong.
The way this works is the person who needs it automatically adjusts based on what the other person is doing. It’s an involuntary reaction, they don’t even realize they’re doing it.
When do I use it?
There are various times when it’s a good idea to use this practice technique, and I’ll cover each one separately.
- You just can’t “get” a section of music.
- You want to learn good tone quickly.
- You want to learn good technique quickly.
- You need to build your confidence.
- Someone needs to practice but wont (*whistles innocently*).
You just can’t “get” a section of music.
It’s easier to mimic someone who’s better than you when you’re playing the exact same thing at the exact same time. When playing together, your bodies naturally sync, all the way down to your heartbeats (an article about that is here). This is a good idea for when you’re repeatedly missing a note or a rhythm.
I use this more with piano students than with flutes. If they’re working on a recital piece, need help with rhythm or correct notes, I play the exact same thing right along with them a couple octaves higher on the piano. The issue goes away by the second or third time we repeat that section, like magic.
You want to learn good tone quickly.
This section is for flute alone. Duets work the best for transferring tone. Your tone quality and color should naturally reach towards each other (more on that here).
I’ve seen this work instantly with my students. I’ll play the flute with a new student who still has a beginner tone, and the student’s tone will instantly become the same as mine. Afterwards, the student’s tone will be better than before, but it won’t be the same as my tone.
You want to learn good technique quickly.
The better player sits/stands up straight, so do you. The better player holds their hands in a different way, so do you. You don’t even think about it, you just automatically do it.
Another aspect of this point is that you take on stylistic things that the other player is doing, such as the way they handle their large intervals and their phrasing.
I sing in a church choir. I’m only choir-trained, but ever since I graduated college, I’ve always sat by the best singer in my section. Just by singing next to her, I learned how to hit the high notes without closing my throat, how to choose correct diction for the situation, and how to nail the tough intervals without trying.
You need to build your confidence.
The confidence of the better player will transfer to you. You will feel the other player exude confidence and your body will pick up on those vibes and take them on. It will only be bit-by-bit. You may not feel it the first few times, but it will come.
The exception to this is when you feel like the better player is perfect and you are the only one who messes up, ever. This is not true, by the way. Everyone messes up, even the pros. Please recognize that this way of thinking is a fallacy and allow the better player to transfer some confidence towards you.
Practice Motivation
Practicing together is a lot of fun. It helps the non-practicer associate practicing with fun. It also forces them to practice.
Here are some examples that I’ve seen over the years.
- Sometimes I’ll play with students who aren’t practicing to help them get ready for a contest. This is usually a last-ditch effort, and I make sure that the student knows that this shouldn’t be relied upon.
- I know a couple of moms who practice with their kids to get them to practice. They play the exact same thing an octave up or down on the piano or on a different instrument, depending on where their talents lie.
- I’ve seen section leaders offer to practice together with that one person who isn’t practicing or their style isn’t meshing with everyone else. This only happens with the really good section leaders or with adults. This last example leads us to…
Ettiquite
Be careful in offering to practice together to help the other person. If it’s done in the wrong way, you’ll easily offend the other person.
If you ask with the attitude of, “Let’s have fun!!!” that will work really well. This works best if you’re just proposing to goof off (and sneakily work on tone).
If you’re in rehearsal, a good way to ask is, “We’re not syncing on this part. Would you mind staying after rehearsal so we can get on the same page?”
If you ask with an attitude of, “You need help with this,” that will only work well if you’re a parent or the teacher. If you’re a peer, you’re asking for trouble.
If you’re the one who wants the help, all you have to do is ask. I’ve never heard of anyone denying someone this kind of help. The other person will be honored that you asked them. They’ll also be excited because it will be fun.
Conclusion
If you decide to implement this in your practice, I know it will work just as well for you as it has for me and my students. I hope this article also gives you the courage to ask for the help that you need.
How about you? Have you seen the magic of this technique in action?