What happens when we have been working on a particular piece for quite a while and have not experienced significant progress? What should we do when a piece does not work out after six months of playing? We have done everything, but there is a standstill.
Sometimes, young musicians might get bogged down on a specific piece that does not resonate with them. The technical difficulties become problematic as the player fails to resolve the issues appropriately in the practice room. As a consequence, they are demotivated to continue practicing in general.
One aspect of motivation when it comes to playing music lies in the particular pieces we are playing. Whenever we build our skills, especially among young musicians, a particular piece may take too much time to master, which becomes discouraging. Repeating the piece week after week does not promote motivation or interest as time passes. It becomes a source of boredom rather than a progressive path in one's musical journey.
If we encounter this problem and have tried long enough to work out a piece, it has not worked, then we have to make a choice.
Do we continue working on the piece or move on to something different?
Is it time to set aside a piece when it takes too long to get it right?
Should we abandon a piece when we do not get anywhere with it?
Does it mean that we have failed in any way?
We can set the work aside for a while and work on other things, such as our technique, etudes, and perhaps another piece in the repertoire, until we feel ready to return to it sometime in the future. The time we put the piece away is not lost on us as we play other pieces. We can work on our strength and build stamina in preparation for challenging work such as the one we put aside.
The time we put into music is never in vain. Our work in one piece always transfers and translates into other pieces. Therefore, practicing an instrument and acquiring the proper playing technique is associative, as skills build on each other.
If a teacher keeps assigning the same piece to the student, they usually have a good reason to do so. In this case, it is essential, of course, to follow our teachers' directions. Music teachers generally have good reasons for wanting students to learn a particular piece. Usually, it is to teach a specific skill to that student.
Even when we are not fond of a composition, we must consider the value of the skill it gives us. It does not mean that no other pieces can help us achieve the same results.
Another strategy would be to seek out etudes that address the technical skills in that piece and practice those etudes parallel to the piece in question. And find many different ways of practicing and mastering a particular technique and using it daily.
We must also be willing to analyze our practicing habits and see if changes are needed.
Yet another sound approach would be listening to the masters playing—people who have mastered their instruments. I would not do that for too long, but it is a good idea, as teaching can also occur through the strategy of modeling.
Should the difficulty in playing this piece be technical, one can also pick up some other skill unrelated to music and enjoy doing that as a hobby. Suppose one takes up tap dancing based on rhythms that someone taps on their feet. This can be an enjoyable activity and help musicians improve their understanding of rhythm.
But, certain pieces do not always speak to us; it has happened to many players. It has also occurred to me that I could have resonated better with a specific piece.
In these cases, it is better to change the piece and acquire a new perspective and way of doing things rather than being stuck in one place. The latest work will offer solutions, build new skills, and offer new possibilities. We can always revisit that piece later; what seemed problematic will most likely disappear by then. When we set it aside for a while, it will be much easier to play that piece of music that one was stuck on.
We should not do the same thing the same way over a long period, especially when the output and the desired result are not imminent. For example, practicing in the exact location is a good idea. However, it is also advisable to change locations from time to time. I have tried this, and it helps me with motivation.
Therefore, make the appropriate adjustments so that you observe the nature of the problem with a piece. If it is time to move on, move on and make a decision to revisit that piece at a later date. Make changes to the way you work to improve performance.
Have you encountered similar circumstances? How have you resolved the situation?
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