The Musician's Way: A Guide to Practice, Performance, and Wellness

by Gerald Klickstein

In The Musician's Way, veteran performer and educator Gerald Klickstein combines the latest research with his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Part I, Artful Practice, describes strategies to interpret and memorize compositions, fuel motivation, collaborate, and more. Part II, Fearless Performance, lifts the lid on the hidden causes of nervousness and shows how musicians can become confident performers. Part III, Lifelong Creativity, surveys tactics to prevent music-related injuries and equips musicians to tap their own innate creativity. Written in a conversational style, The Musician's Way presents an inclusive system for all instrumentalists and vocalists to advance their musical abilities and succeed as performing artists.

Genres: Music, Nonfiction, Self Help, Reference, Art, Education

368 pages, Paperback

First published August 6, 2009

Reviews

[Elle · Rating 5 out of 5]

This is an excellent guide for any musician or performer. It is full of invaluable advice and secrets from professionals and teachers that are in print for the first time. The practice section is extremely helpful for scheduling, managing and improving the quality of practice. The performance section was so helpful to me in learning how to deal with nerves and I would recommend it to everyone, I mean EVERYONE. Stage fright does not need to be debilitating, and once you analyze, prepare, and keep positive thoughts, nerves actually help you perform better. I still need more practice performing, but I have learned to manage many of the issues I had even just three months ago. Although this issue is ignored a lot, injury and its prevention is crucial in especially the student's life, and The Musician's Way devoted a whole section to it. I read this book slowly and thoroughly (but not necessarily in order) to learn as much as I could.

[David · Rating 5 out of 5]

I like this book. Though its title is similar to the popular "Artist's Way" which is a sort of new age workbook/work diary for artists or anyone for that matter (and which I found boring and unhelpful in any way) "The Musician's Way" has alot of practical usable information on everything from practice habits, developing repertoire, stage jitters, performance pace, how to put together a concert repertoire and present a concert, to physical ailments and even diet and exercise. I would recommend it to performing musicians, especially solo performers where the pressure is much higher than in group situations.

[Kathleen · Rating 5 out of 5]

Gerald Klickstein has done an incredible thing for all aspiring professional musicians: he has written a book that combines creative practice techniques with a genuine concern for artistic wellness while simultaneously shattering the myth that musicians (especially young musicians) need to spend their lives in practice rooms in order to succeed. Without indulging in platitudes, he manages to drive home the notion that the quality of practice far outweighs the quantity of practice (though the quantity, that is, getting enough practice is important also).

This is a book that every music student, aspiring professional, and enthusiastic amateur should read to enhance creativity and encourage artistry. It is one that I will reference time and time again.

[Eleanor · Rating 3 out of 5]

Yet another "how to be a musician" book. This came highly recommended and I think I would feel more "wow"ed if I hadn't already read numerous books on sports psychology which express a lot of the same ideas in a more scientific and clear light. It's always worth my time to keep reading these things though, you never know what little gems you might find. One of my favorites so far is "Ease of performance begins in the mind." Yes yes yes! So obvious yet so often overlooked. This gets a bit boring at times because it rehashes ideas I feel like I've heard from the very beginning of music lessons but I imagine this would be fantastic for someone just starting to get serious about practicing. Will update more when I finish.

[Cynthia Wood · Rating 5 out of 5]

Love, love, love this book. It gives some of the most clear and detailed instruction on performing and how to construct a practice that will lead to good, repeatable performances I've ever run into anywhere. Equally applicable to piano and voice, and should apply to other instruments as well. Good stuff!

[Mona · Rating 5 out of 5]

There are gems in the pages of The Musician's Way.

Pages upon pages of invaluable and excellent advice. The plans are clear, specific and practical.

[Μαρία Βλαχοδήμου · Rating 5 out of 5]

This book is the best thing that happened to my-pianistic-self.

[Dan Becker · Rating 5 out of 5]

I’ve been making music since my grade school days, and this book has taught me things I’ve needed to know - about learning, playing, practicing, and performing - this entire time. But even at this late date I’m still able to immediately put them into practice and get the rewards.

And, all key points are broken down to a few, easy to remember bullet points - reaching which is backed up by clear explanations of effective tactics applicable to each stage and approaches solving the particular problems often encountered at each.

Such as, the stages of learning new material for your repertoire: new, developing, performance - and what to do with material at each.
- new material: you are first getting to know the piece, getting it to the point where you can comfortably play along at a slow tempo, which is:
- developing material: here, you are refinishing interpretation, increasing tempo, memorizing, getting it to
- performance material: you are able to deliver a complete, artistically competent performance. Now, keep practicing, to make it as good as you can at present - and once you reach that level, keep rotating it into your practice periodically to maintain it in memory.

This book is as essential for musicians as Strunk & White is for writers. Highest possible rating.

[Anne · Rating 2 out of 5]

I like this book's concept very much. Klickstein is analyzing many of the ancillary (and often overlooked) skills that go into being a musician, and that's unusual and welcome. But the book I want to read is not this one. The book I want to read is grounded in science as opposed to received wisdom and marshals research evidence in support of its conclusions. It's also positively framed (less a catalog of prospective pitfalls). Still waiting.

[Naphtali · Rating 5 out of 5]

This book is changing the way I practice, the way I teach, and how I approach my music career in general.
From how to choose and practice music to dealing with performance anxiety to the importance of self care and how to avoid injury and/or burnout, this book really covers it all. I wish I'd read it 10 years ago!
I feel sure this is one I'll be referring to often and rereading in the future.
An absolutely fantastic resource for any somewhat serious musician - I highly recommend it!

[Joe · Rating 4 out of 5]

The “Musician’s Way” is a comprehensive manual for becoming a musician. It covers pretty much everything you need to do to become a serious musician. It is a rather dry book but as a musician I was able to cull many ideas to help improve my practice routines and performance. I would recommend this book to anyone interested in becoming a serious musician.

[Phil · Rating 4 out of 5]

Lots of good, solid advice in this book. It focuses exactly on what it says: practice, performance, and wellness. It doesn't get into specifics, just general insights for anyone who takes the craft of music seriously enough to grow as a musician. I would have given it five stars, but the fact is it was a little dry and hard to get through.

[Craig Cunningham · Rating 5 out of 5]

I really enjoyed this book. Very comprehensive and includes information which may lead you to the website connected to this book.

[Rodrigo Calegari · Rating 3 out of 5]

From the moment I started reading this book, I knew I'd disagree with several points... I think that everything that is said here does not mean that it will work for everyone. This is very relative; for example, I have 100% more ideas than I did before after disconnecting from social media and spending more time with myself. Films and some old songs have helped me greatly in these past few months. The style of writing I use is largely determined by what I wish to convey in my music, whether it is happy or sad.

Describing the experience of 'being forgotten' in music is challenging, as there are only two forms of validation - your own artistic approval, and that of those who collaborate. My perception of being forgotten doesn't align with any conventional query, even when referring to the album Pure Heroine. To me, it is indisputable in terms of greatness, both in terms of performances on stage (the singer's expression and way of acting within his workplace) and his writing. The album, Pure Heroine, decidedly exhibits a post-internet influence. It is partly due to its mix of gender-agnostic influences, but it is primarily due to its deft portrayal of a certain kind of self-presentational sensibility. This album is a fluid collection of pulsating, moody, and menacingly anaesthetic pop music. It is true that many of his best production ideas and lyrical themes are repeated in such a way as to make one feel as though he is listening to ten versions of the same song at a time. You do not realize how challenging this can be in production, both for those who work on the album, as well as for those who will listen to it later. It is important to note that Lorde's sound did not emerge out of thin air. A number of things were happening in music at the time, both in the mainstream and the indie realms. The legacy of Pure Heroine goes far beyond "Royals." It is simply a great album, the arrival of exceptional talent. Song structures could be improved, and lyrics occasionally meander into embarrassing depths, as they can with anything you write when you are young. I find its cynicism so sincere and its sense of knowing-it-all so typical of the average 16-year-old who feels that he will never fit in. That is also one of the reasons why it is so compelling.

While I find it difficult to talk about "presenting" on stage, every artist, whether long-term or new, needs to know what they prefer. So, the expression "how to act on stage" is both pathetic and peaceful. Ultimately, it comes down to personal taste and what people who listen to you expect from you on stage. It is my experience that the best way to capture an audience is to sing with harmonics, especially if you are singing impactful songs with a guitar sounding two stages lower than your voice, but well, that works for some, not for others.

Overall, it is a dubious book that may provide guidance for those who are just starting out, but nothing more. A person who follows your musical repertoire may be able to contribute to your creation either inside or outside the studio. You need your stage presentation to be about YOU and YOUR MUSIC GENRE, but management should at least be aware of this.

[Juan Jacobo Bernal · Rating 3 out of 5]

I have a powerful tendency to lean on the analytical/cerebral side of me to tackle projects. I began my drumming journey 23 years ago, and I feel that said natural propensity has curtailed my experience of the more spontaneous and mysterious sides of music.

Books like Victor Wooten’s The Music Lesson: A Spiritual Search for Growth Through Music worked wonders in allowing me to explore the most instinctive realms of music.

On the other hand, I found Gerald Klickstein’s book way too granular and rational. If I had been given this book when I was getting started, my appreciation would have been way different. That being said, I did get a few golden nuggets that I am sure will benefit me a lot. An example is the emphasis on seeking relaxation, ease, and emotional expression in every practice session.

[Vicky · Rating 5 out of 5]

Gerald Klickstein seems to have thought of every possible piece of information that you would need to know as a student of music—how to practice, how to perform, how to make this pursuit last a lifetime—and I am grateful that he has collected it all into this book!

When friends heard the title, they asked me if this was similar to The Artist's Way, which I have never read, but after looking through its pages to compare—no, The Musician's Way is more practical than spiritual (?), with step-by-steps, anecdotal examples, and the kind of knowledge gathered from years of experience. It really goes into the nitty-gritty sometimes, I love it.

I will be returning to reference this book for a very long time.

[Gabrielle (qaomia) · Rating 4 out of 5]

Nice read, even though I was not the targeted audience. I play the piano as a hobby and not as a professional. This book goes in details on various subjects such as how to practice, how to perform without being afraid of it, how to deal with errors, or even how to choose a teacher. I think the two main takeaways for me will be :
- Whatever music I play, I must aim to express feelings from my heart and musical ideas, even if it is just scales.
- I should not be afraid of mistakes. Doing mistakes while playing is a way to understand the part I can improve, and it does not test my personal worth.

[Carolyn · Rating 3 out of 5]

The guide to practice was my focal point. His ideas added to my own with students. It is a handy book to keep around and check now and again his suggestions for performance and most of all wellness. Encouragement is central in any learning situation. Music for most of us is a way of nurturing. Like our care in a garden which really states maintenance, the practice of a soccer player practicing left kicks and or headers alone to be a better team player. Mr. Klickstein recognizes the importance of confidence building and persistence. Teachers need to be tender, need to see the end result for each student so that they actual achieve that goal. Good read. Best kept close at hand!

[Landon · Rating 4 out of 5]

I wish I would have read this book when I was an undergraduate music student - as university music students are the target audience. That being said, Mr. Klickstein delivers more than enough practical advice for any musician in this tome.

I particularly enjoyed the sections on crafting an effective practice routine. I appreciated the author's emphasis on the importance of self care and personal wellness for artists.

Recommended for musicians who continually want to enhance their craft.

[Marshall · Rating 4 out of 5]

This book covers different aspects of what it means to be a musician. The author talks in depth about practice techniques, musical mentality, teamwork, etc. I benefit about by reading about great practice methods and musical mentality. The book makes me pay more attention on how I practice piano every day. Also, it makes me aware of my “musical inner voice” - what musical goals I communicate to myself, how I perceive my progress and accomplishments.

Great quotes:

musical progress depends more on practice than on talent. Talent symbolizes your underlying potential; practice enables you to realize that potential. But not just any sort of practice will do.

Practicing is not forced labor; it is a refined art that partakes of intuition, of inspiration, patience, elegance, clarity, balance, and, above all, the search for ever greater joy in movement and expression.

practice is the deliberate, creative process of improving musical ability and of mastering music for performance.

The secret of getting ahead is getting started. The secret of getting started is breaking your complex, overwhelming tasks into small manageable tasks, and then starting on the first one - Mark Twain

To achieve great things, two things are needed: a plan, and not quite enough time.

Your artistic evolution is best served by steady, judicious practice. Aim to do a similar amount of playing or singing each day, being mindful not to exceed your physical limits. Also, consider reserving one day a week for rest or low-intensity practice only.

As a general rule, rest 10 minutes of each hour that you spend in the practice room. Rest more if you’re working vigorously or adopting new techniques.

First and foremost, you should enjoy the music that you learn. That’s not to say that every composition you take on has to be a favorite, but the storehouse of repertoire you accumulate should reflect your artistic personality.

Your creative capacity is determined by your musical and technical abilities, along with your available practice time. Your capacity will increase as your strength and skills grow. However, for you to make progress with basics such as on-stage confidence and ease of execution, your repertoire choices must be within your capacity.

There is nothing more fatal for our musical sense than to allow ourselves—by the hour—to hear musical sounds without really listening to them.

Keen self-listening is central to musical excellence. Without it, performers heedlessly sing off pitch, play out of rhythm, or otherwise mangle their music. They sound good to no one but themselves. With high-quality recording devices, however, accurate self-assessment comes within the reach of all musicians.

“Practicing well is virtually an art in itself—the art of achieving economy of time and means.”

We first make our habits and then our habits make us.

Student musicians might believe that they can struggle in practice and, over time, will garner similar fluency. But experts know otherwise. Ease is a habit that has to be fortified at every turn.

To foster easeful habits, choose manageable material, and practice with your effort meter far out of the struggle zone. Establish a standard for easefulness whereby you make the quality of your experience while playing or singing as significant as the quality of the music you produce. In the words of violinist Kato Havas, “Playing is never difficult; it is either easy, or it is impossible.”

Work with digestible portions Although the basic unit of mapping is a section, to execute, you should work with readily digestible portions of music, and these will frequently be smaller than sections.

Bring the music to life, but don’t get swallowed up by passion. Create gripping lines while you image ahead, release tension, and coolly assess the quality of your execution.

Even in pieces that you’ve known for years, there will be new things to discover and express. As you practice, be playful; question your interpretive patterns, and try out new ones. Continually rouse fresh thoughts and emotions.

Pianist Vladimir Horowitz said, “A work should never be played the same way. I never do. I may play the same program from one recital to the next, but I will play it differently. And because it is always different, it is always new.”

Constructing a solid technical foundation so that your artistic growth can proceed unhindered.

In essence, easeful technique flows from efficiency of thought and action.

Positive attitude: Technical progress can’t be rushed. Like the greenery in a garden, you can nurture your technique, but the flowers will bloom in their own time. Infuse your practice with patient optimism.

Music is a field so vast that no one person can comprehend more than a slice of its totality. Even so, pledge yourself to a lifelong quest for encompassing musical literacy.

Your musical personality springs from your inner artistic landscape. That landscape, however, wasn’t inborn—it grew out of your upbringing and the circumstances of your life. Now it’s up to you to engineer the conditions in which your creativity will prosper.

When you dole out critiques, use nonaccusing words that focus on musical matters.

Pianist John Lewis said that his group, the Modern Jazz Quartet, enjoyed a lasting career partly because “We’re smart enough and clever enough to give each other room to live in, to have respect for each other’s personalities.”

[Blair · Rating 5 out of 5]

This is a *large* book with a lot of fantastic information. It is aimed mostly at students but is really good compendium of all things music and will be of value to anyone no matter the levels of experience. In my case, there were a lot of great new ideas but there was also confirmation of the things I've learned on my own. It covers a lot of ground, from how to study and practice, to managing anxiety and designing a good performance, to how to detect and prevent injuries.

[Fiona · Rating 4 out of 5]

Handbook to achieving excellence as a musician, or in the music industry.

This was nothing if not comprehensive. Every chapter was split into checklists (sometimes several) and Klickstein takes a refreshingly holistic approach to the musician. I found it useful as an amateur and it compared very favourably with similar texts.

[Adeline Wood · Rating 5 out of 5]

a must for performing musicians

Inspiring and I learned SO much about how good practice leads to confidence while playing out. Now I’m excited to perform, to try out all that I’ve learned. This book has shown how to enjoy playing my instrument and not getting stressed and burned out.

[Adam Martin · Rating 4 out of 5]

This book should be prescribed as required reading for all freshman musicians. Better yet, it should just be a course in its own called “musician preparedness.” Think I could have fast tracked a lot of stuff I had to learn just through doing it, but man it was really nice to see the answers in writing. Also nice to be confirmed! Book done!

[Rachel Palm · Rating 5 out of 5]

Having just finished this book, I now plan to go through it again. What an excellent addition to my library. I wish I had read this in university. It would have saved me a lot of frustration, and given me a lot better idea of how to become the musician I want to be.

[Yassine Taoudi-Benchekroun · Rating 5 out of 5]

A useful book on a musician's shelf. Even though one might already know a lot of what is argued on the book, it's very useful to pick up the book once in a while and remind oneself of good practice rules, that our lazy minds tend to forget.

[Tess Austin · Rating 5 out of 5]

Really great practice tips

[Keith Wheeles · Rating 2 out of 5]

Checklist style outline with lots of practical tips on practice and performance.

[Daniel Infante · Rating 5 out of 5]

Excelente manual de estudo!

[Greta · Rating 4 out of 5]

Useful for organizing practice.