Workshopping vs. Woodshedding

Like most people, I like new things…and I especially like new things that promise an improvement in the music I’m making. How could any musician, regardless of ability or instrument, not like something that offers the purchaser something “more” musically than they already have, often instantly?

First let me say that there is absolutely nothing wrong with buying a new method book, sheet music, gadget, accessory, or other “must-have” item…or even a new instrument. Our advertisers offer some great products; if they didn’t – and if I and other PTMs didn’t have great results with them – they wouldn’t be advertisers here. (If you’re curious, check out our advertising guidelines.) By all means, buy from them if you wish! Just don’t fall into the trap that I call “workshopping”.

Workshopping

An oboist once told me the following story. When she was studying at the university, her professor gave her an excellent piece of advice, couched as a question. As a bit of background, professional oboists buy their own stock of cane for reed material, their own wire for wrapping, tools necessary to cut and trim the (double) reed and assemble/wrap it, etc. The cane must be properly aged, they must keep quite a little stash and continually add to their store as they consume it, being careful to control temperature and humidity. Between all of the reed work and the practice, a lot goes into maintaining an oboist’s level of performance. It’s the same with bassoonists.

The question her instructor asked was this: “Do you want to be a woodworker or a musician?”

Frankly, full-timers have little choice; they must be both. She did have a choice, though, and chose to pursue a degree in music education. She is still a fine oboist, but she doesn’t make her own reeds. She plays. 

Woodshedding

Ultimately, what goes the furthest toward making you a better musician – and thus providing you the most rewards – is practice. This doesn’t have to be boring, but it must be consistent. Some time back, I penned an article listing five secrets to rapid improvement in your playing. Number one? Practice every night – even if it’s only five minutes!

The great Herbert L. Clarke fell into the trap of workshopping, as do many of us. He came to the same conclusion: things are nice, but practice really carries the day. 

The Bottom Line

I’m not telling you to stop adding to your mouthpiece collection or line-up of effects pedals, or to stop your periodic search for the perfect set of strings for your particular violin…and I’m certainly not telling you that you should stop buying books of studies, exercises, methods, or new music! What I am suggesting is that your biggest “bang for the buck” comes from your own personal investment of, and in, you. You yourself promise the best possible payback.

So go ahead and buy that new accessory or that new book if you like. Then go put it to good use, building on it and enjoying it. You’ll be glad you did.

Keep playing,

Mark

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