How to Strengthen The Breath and Expand Lung Capacity for Wind Instruments

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How To Expand Lung Capacity for Didgeridoo and Wind Instruments

The first practice for didgeridoo playing, connecting with your breath, will give you a better understanding of the respiratory system and lay a strong foundation for your training. These exercises are designed to connect you to your breath and prepare you for didgeridoo playing. We recommend spending some time learning these breathing techniques before you start practicing the didgeridoo as you will be much better prepared for the physical exertion required.

Start with the following:

Take three deep breaths and notice where in your body the breath is creating movement. Perhaps in your chest, belly or shoulders or elsewhere.

The study of wind instruments shows that breathing immediately into the upper chest does not utilize the full potential of the respiratory system and often results in short, weak breathing. The information contained here is what will allows you to inhale many times longer and play notes on didgeridoo for over one minute on a single breath.

One of the most important techniques in the mastery of wind instruments is diaphragmatic breathing, also known as belly breathing or abdominal breathing. This type of breathing generates more powerful airflow, expands the lung capacity and is useful for general relaxation and stress-reduction. Diaphragmatic breathing is performed as follows:

On the inhalation the belly expands, moving forward from the front of the body, and on the exhalation the belly contracts, moving toward the spine.

Try visualizing the belly as a balloon: as you inhale the belly fills with air and as you exhale it deflates.

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Anatomy of Breathing

The belly is a great indicator of whether or not you are performing diaphragmatic breathing correctly. To truly master this breath, a more complete understanding of the diaphragm is essential.

First try this:

With both hands, touch the bottom of your sternum (breast-bone) at the center of your rib cage. Now using your fingertips, follow the bottom ribs down and around to your sides. Notice how low your ribs go, just a few inches away from the top of your pelvis (hip bone).

Understanding The Breathing Muscles

The primary muscles used in breathing are the diaphragm, abdominal and intercostal muscles, collectively known as the “breathing muscles.”

The diaphragm is a dome-shaped muscle that lines the bottom of the rib cage. When you inhale, the diaphragm contracts, flattening from its parachute-shape downwards. This motion creates a vacuum in the lungs, draws in air and pushes down upon the stomach, intestines and other organs, causing the belly to swell out (seemingly inflating like a balloon).

When you exhale, there is contraction in both the abdominal muscles (the “abs”) and intercostal muscles (which surround the ribs), allowing the diaphragm to relax upward back into its dome shape. In brief, the diaphragm contracts (works) when you inhale and relaxes when you exhale.

The abdominal muscles are the primary force behind exhalation, especially for the strong that needed to play a wind instrument. See if you can feel your abdominal muscles working with the following exercise:

Imagine you are about to blow out a candle. Take a relaxed inhalation that expands your belly and then give an abrupt breath out: whoosh! When you perform this abrupt motion you should be able to feel the abs in action. The sensation of the abs contracting should feel like a tightening sensation in your belly. Repeat this a few times. Note that as you exhale the diaphragm is relaxing.

 

Now that you have an awareness of the breathing muscles, the following exercise is the best way to practice diaphragmatic breathing:

Put one hand on your chest and one hand over your belly. Take slow relaxed breaths, inhaling and exhaling for as long as you can, visualizing your belly as a balloon. If you are doing the diaphragmatic breath correctly, then your lower hand should feel the belly inflate with each inhale and deflate with each exhale while the upper hand feels the chest and shoulders remain relatively relaxed and neutral. The hands should not push or pull at all. Once you understand the concept of diaphragmatic breathing, this exercise should be practiced for ten minutes a day until you have fully internalized it.

***Use a mirror to make sure your chest and shoulders stay mostly relaxed while your belly expands.

Watch a video demonstration of diaphragmatic breathing exercises:

Expanding Lung Capacity

Wind instrumentalists who have developed their lung capacity can play a note over a minute in length on a single breath. What follows is the technique that will get you to exhale much longer than you may have thought yourself capable. In addition to playing longer notes, expanding your lung capacity will make learning the didgeridoo much easier.

The primary technique used to expand lung capacity is:

Inhale as slow as you can until your lungs are completely full. Once full, hold for a second and then breathe out as slow as you can until your lungs are completely empty. Hold your lungs empty for a second and then repeat by starting your next inhalation.

To properly perform this lung expanding exercise it is important to slow down the rate of airflow. Your goal here is to make each breath last longer than the previous one.

To optimize the efficacy of this practice, it is important to simulate the back-pressure (resistance) of a wind instrument by constricting the opening through which the air flows out the mouth. This resistance will make each breath last even longer. There are two ways to practice this: through pursed lips (leaving only a very small mouth opening) or through a straw.

The key to this exercise is to make each inhale and exhale as long and slow as possible and go beyond where you think you are full or empty. If you correctly practice this for 10 to 15 minutes per day you will find that your lung capacity is much greater than when you started.

***Please be sensitive to your natural limits. If inhaling to maximum capacity or exhaling to maximum emptying of the lungs causes pain, please stop this exercises. Discomfort is natural when you are challenging yourself but pain is not. Do not put yourself into a painful situation.

Ready for a more in-depth video tutorial? Sign up to receive a FREE video class on Expanding Lung Capacity:

How Brainwave Entrainment and Binaural Beats Can Effect Your State of Consciousness

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states of consciousness and brainwave entrainment

Ranging from deep sleep to intense mental activity, various states of consciousness are experienced by humans everyday. This continuum of consciousness correlates with electrical activity in the brain and can be controlled to an extent using a process called brainwave entrainment.

What is Brainwave Entrainment?

Brainwave entrainment is matching of an external vibration to the same frequency as the electrical impulses in the brain. The frequency of brainwaves can be measured in cycles per second (Hz) with an electroencephalogram (EEG). These brainwave states are categorized as the following:

Beta: 12-30 Hz. Normal waking state in adults. Active thinking and planning. This is where the ego resides.

Alpha: 7-12 Hz. Reflective, relaxed state usually with closed eyes. A day dream state.

Theta: 4-7 Hz. Deep meditative state. A place of creativity and envelopment in the present. A dream state associated with REM sleep.

Delta: 0.5-4 Hz. Deep sleep. A place of regeneration and healing.

By simultaneously combining the sounds of two didgeridoos, a desired state of consciousness can be induced in the listener. For example, when one didgeridoo is played in the key of Bb (fundamental frequency of 58 Hz) and a second didgeridoo is played in the key of C (65 Hz), the difference between the frequencies is manifested as a subtle pulsing (in this case 7 Hz). The listener’s dominant brainwave state will sync with this pulsation in a frequency-following response known as brainwave entrainment.

This phenomenon was recorded by Didge Project and released as the album, Didgeridoo Meditation: An Odyssey Through Consciousness.

Didgeridoo Meditation Didgeridoo Meditation[/caption]

How To Most Efficiently Use Your Music Practice Time (On Any Instrument)

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best use your music practice time

I teach music to a lot of people and one of the most common things I hear from new students is “how do I create space in my life for this?”  Working with mostly busy New Yorkers I can see why it would be difficult. Taking up a musical instrument is a great way to learn to focus your energy and if you can master the discipline of daily music practice, or sadhana as the yogis call it, you will be able to incorporate the approach of practice to your daily life beyond music.

To truly develop a good musical practice there are a few simple things that you can do. The first and probably most important is to create space. Space comes in the form of physical space, a room or outdoor area, and personal space. Personal space is very important because in today’s world we are often bombarded with text messages, phone calls, emails and even people knocking at our door. To create personal space it may be best to turn the cell phone off (or leave it in the other room), tell everyone in the house that you are going to practice and need to not be disturbed. In short, close yourself off from the outside world so you can really go deep into your music practice.

Now that you’ve created space for yourself, maybe you’ve allocated 30 minutes or an hour or 4 hours (yes some musicians will set aside this amount of time), how do you start your music practice? Every music teacher I have ever studied with would start with some sort of warm-up exercise(s). A warm-up can be something easy to play or sing that gets you into the flow of your practice. For vocalists there are some lip trill techniques and vowel sounds that are sung to warm up the pipes. Many melodic instrumentalists start by playing scales and arpeggios to the get the fingers warm. Many warm-ups span the whole range of the instrument from lowest to highest notes. For didgeridoo we often start with long-deep breathing to warm up the respiratory system, open-throated breathing to prepare the upper-airways and lip buzzing to prepare the lips. Since these are the three major elements that go into making the drone sound on didgeridoo, its appropriate that we gently ease into the practice through these warm-ups.

Once the initial exercises are complete many teachers will have their students work on fundamentals. For melodic instruments these can be scales, chords, arpeggios, simple pieces. My piano teacher, Alex Pryrodny, uses Bach’s Prelude in C for its subtlety, range and use of all 10 fingers.

Bach's "Prelude in C"

Using beginning to intermediate level compositions is a great way to start. On didgeridoo we usually proceed by working on foundational techniques utilizing the abdominal muscles, cheeks and tongue. If the student already knows circular breathing then we work with a basic circular breathing rhythm that can be comfortably played.

Everything up until this point, maybe 10-15 minutes into your music practice may be things you’ve done before and are simply refining.  Now its time to move into new material and exploratory practice. Here is where you can start to work on a new piece, a challenging rhythm, and utilize tools like the metronome to keep you in time. The metronome is an amazing tool because it allows you to play a musical phrase or piece at a slow enough speed for learning purposes, or as my teacher John Doheny used to say, tempo di learno (learners tempo).

You may also find that you like to sit and freely explore the instrument. This is a great thing to do and I suggest that every practice session have a segment of free exploration. This is how you will expand your musical vocabulary and invite greater potential with the instrument. I usually end the lessons that I teach with a free-exploration exercise. I’ve also taken lessons with my teachers in which this freedom is the main section of the lesson. It really depends where you are at with the instrument. For most beginners I recommend spending a lot of time with the fundamentals and metronome exercises until they are mastered.

What is the most important thing about your music practice? Have fun! If you are getting “bored” of practicing then maybe its time to spice things up. Pick up a different instrument, try singing, try drumming out different rhythms, learn a different song. There is a plethora of musical material out there to keep you inspired. Seek it out and try to apply it to your practice as much as possible.

As a final note I’d like to mention the importance of organizing your practice. It is recommended to keep track of your repertoire and the exercises you practice by writing out a daily list. A simple practice chart like the one provided here can help you stay on target with your practice.

Thanks for reading and I wish you a fruitful musical practice filled with joy, harmony, melody and fun!

Didgeridoo Duet Beatboxes, Plays Acoustic Dubstep and Rocks House Beats

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Adèle & Zalem are a pair didgeridoo players from France with a very modern sound. Drawing inspiration from modern dance music, beatboxing, house and dubstep, this didgeridoo duet has a unique sound that’s will make it so you can’t even believe you are listening to didgeridoo.

In 2013 Adèle & Zalem released their first album Urban Tree.

This album, recorded, mixed and mastered by Thibault Cano-Bruyere, is composed of 9 tracks, with only two didgeridoos (except for the solo tracks ZalemAlone and SolAdèle). There are no added sound effects; these are purely live recordings.

Listen to Excerpts from Urban Tree:

Amazing Didgeridoo Player Ondrej Smeykal

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Ondrej Smeykal is from Prague, Czech Republic and is regarded by the global didgeridoo community as one of the best modern players. In this video, Ondrej plays on a didgeridoo made by Chad Butler.

How to Incorporate Drones Into Your Music

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tuvan throat singer
Photo on Wikimedia Commons by user Paris 16

The drone is a simple yet mystical sound, which can be found in many sacred music traditions of the world. From a spiritual perspective the drone is often described as a doorway to for both player and listener to enter the higher levels of consciousness. Music traditions that feature drones can be found in India, Arabia, Persia, China, Tibet, Tuva, Australia, the Americas, the Mediterranean region, Africa and beyond. Drone music can be found in all four major classes of instruments: woodwinds, brass, percussion and strings.

Essentially a drone is a sustained tone based upon one fundamental frequency. This foundational pitch can be thought of as a single note that is extended for a long period of time. Each drone gets its unique sonic character through a combination of overtones, higher frequencies that sound like they are dancing at the top of the sound spectrum.

Traditionally, the geographic range of drone instruments was limited to a small radius from point of origin or active practice. In today’s connected world, most of these instruments can be purchased online and utilized for your own music making and gratification.

Here is an overview of drone music and instruments that are utilized in sacred ceremonies and rituals around the world.

The didgeridoo is a sacred wind instrument given to humanity by the aboriginal Australian people. Its traditional sound is characterized by a drone with slight variation in frequency according to jaw position. The didgeridoo player can have a high level of control of the overtones using tongue, cheeks and throat.

The gong is a metal disc shaped percussion instrument with sound characterized by many harmonic layers happening at the same time. Each gong is pitched at one fundamental frequency and is made with a “secret” combination of metals. Its earliest known use can be traced to China and Southeast Asia, where there are records of its use for meditation and healing. Gongmaster Don Conreaux says the gong is “an engine of power releasing tone resonance and complex harmonics that are transferred to the recipient.”

The singing bowl is a metal or crystal bowl-shaped instrument. Like gongs, the metal versions of these instruments are constructed with a number of different metals and are pitched at one fundamental frequency. Unlike gongs however, these instruments are predominantly played with friction to sustain a drone (gongs can also be played with friction but it is less common to see this). Crystal singing bowls are constructed with the precision of machines and can be fine-tuned to an exact pitch and can resonate much louder than metal bowls. Due to this precision and material, crystal singing bowls have less overtone richness compared to metal bowls, however crystal bowls are typically louder than metal bowls.

Tamboura (also tanpura) is a string instrument tuned to a specific tonality and traditionally used to accompany the voice or a melodic instrument in the Indian Classical Music system. With overtones constantly shifting, the tamboura creates a mystical sounding drone over which all melodic and harmonic content is tuned to. Traditionally tuning (in the 7-note diatonic scale system) is 5 8 8 1 (where 1 is the fundamental, 5 is the fifth tone in the scale and 8 is the octave above the fundamental). Today the tamboura is one of the most recognizable sounds in drone music worldwide.

Shruti Box is a free-reed instrument, essentially a vibrating reed (like that of a harmonica) controlled by a hand pump. Like the tamboura, the drone is rich in character and is often found in many traditional Indian music forms.

Harmonium is a variation of the shruti box which features a piano-style keyboard. Each harmonium key is assigned to its own reed (or pair of reeds). This instrument is traditionally used to accompany Sanskrit mantra (chant) for the style of music known as kirtan or songs known as bhajans.

Drums are found in all cultures in some form or another and it is their ability to play tones rhythmically that gives pulse to music. The head of a drum is a vibrating membrane, and thus it drones at one consistent pitch as it is hit repeatedly. When a drum like a Native American frame drum is used shamanically, certain rhythms can entrance those who receive them.

Drone Flutes are usually constructed of two pipes, one a normal flute with 6-10 finger holes and the other a drone pipe with no finger holes. The sound of drone flutes is really special because with one instrument there is a wide range of melodic and harmonic possibilities.

Jaw Harp is a folk instrument found in many parts of the world which features a vibrating tongue and uses the player’s mouth as a resonator. This versatile instrument can be found in a wide variety of shapes, sizes, and materials.

There are so many other droning instruments that are outside the scope of this brief introduction. Reed instruments such as the Nadaswaram and Shennai (from south and north India) are often played by 4 or 5 players at a time to sustain a drone in place of the tamboura while a soloist plays melodically. Bagpipes have many droning tones to support a melodic element.

Lastly, the human voice is one of the most complex drones in existence. Most well known , Tuvan Throat Singing, Harmonic Overtone Singing. Those of us who have ever studied yoga, meditation, or other practices from India are familiar with perhaps the most well-known drone sound: OM. Try chanting OM at a single pitch for the full duration of your breath and you will feel what it is to practice the drone.

The didgeridoo is what first got us interested in drone music but now we know there is so much more. We hope you find the sound that speaks to you and share the gift of the drone with the world!

Using The Didgeridoo For Meditation and Healing

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People come to the didgeridoo for many reasons, most of which I see connected to healing. Players benefit from the many therapeutic benefits of the instrument: deeper breathing, expanded lung capacity, greater sense of rhythm. Listeners have access to a whole dimension of sound that is not often provided in our modern world.

Didgeridoo for Sleep Apnea: First Clinical Study

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obstructive sleep apnea didgeridoo natural sleep apnea therapy
In obstructive sleep apnea air is obstructed where the base of tongue meets the soft palate during sleep. Image by Habib M’henni

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“I’ve had breathing problems during sleep for at least a year and a half, maybe much longer: snoring, gasping for breath when I was sleeping. At best it was a loud snore. I have now been playing didgeridoo for sleep apnea for about two months and I’ve been practicing four or five times a week for about thirty minutes a day. This past weekend I was at my friend’s house and he said that throughout the night my breathing was just beautiful. He was so thrilled to hear such a difference, just quiet constant breathing. I’m very proud of that. Using the didgeridoo as a natural sleep apnea therapy has led to a big change in my life.”
– Paul Auerbach, educator

Is There Evidence That Playing Didgeridoo For Sleep Apnea Can Help People?

In 2005 The British Medical Journal reported on a successful study conducted at the University of Zurich in which researchers hypothesized that regular didgeridoo playing could be an effective treatment for obstructive sleep apnea. The sleeping disorder is characterized by pauses in breathing during sleep, often leading to daytime restlessness.

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A participant playing didgeridoo in the sleep apnea study. Image: BMJ.

Participants, mostly men aged around 50 and experiencing high amounts of daytime sleepiness, were to learn to play the didgeridoo by taking periodic lessons and practicing at least 20 minutes per day, 5 days a week for four months. All participants used identical acrylic didgeridoos (as seen in the first photo). In this natural sleep apnea therapy, participants were given four lessons as follows (quoted directly from the study):

1. Participants learned the lip technique to produce and hold the keynote for 20-30 seconds

2. The instructor explained the concept and technique of circular breathing. Circular breathing is a technique that enables the wind instrumentalist to maintain a sound for long periods of time by inhaling through the nose while maintaining airflow through the instrument, using the cheeks as bellows

3. The didgeridoo instructor taught the participants his technique to further optimize the complex interaction between the lips, the vocal tract, and circular breathing so that the vibrations in the upper airway are more readily transmitted to the lower airways

4. The instructor and the participants repeated the basics of didgeridoo playing and made corrections when necessary

A Natural Sleep Apnea Therapy

What were the results of the didgeridoo for sleep apnea study?

Participants were tested at the beginning and end of the study for four different quality-of-sleep and daytime sleepiness indicators and were then compared to a control group that was not allowed to play the didgeridoo. For each indicator, the group that practiced the didgeridoo made significant improvements compared to the group that did not.

The most significant indicator used in the study is the Epworth scale, a measurement of daytime sleepiness (the higher one measures on the scale, the more daytime sleepiness the person experiences). The figure below shows that those who practiced the didgeridoo saw their level of daytime sleepiness decrease, while those in the control group saw various changes, including testing better, the same and far worse.

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Results from participants in the didgeridoo sleep apnea study, plotted on the Epworth Scale (a self-reporting metric). Image: BMJ.

The didgeridoo for sleep apnea study was hailed as a success but only through continued research will we know the true effects of playing the didgeridoo to treat sleep apnea. It is unclear the level to which the participants mastered circular breathing, a technique which often challenges newer didge players. Enhanced results could potentially be found in longer experiment periods (greater than four months) and more in-depth and frequent didge lessons.

What is the best way to start playing didgeridoo for sleep apnea?

After seeing positive results working with over 50 people with sleep apnea, I decided to create a method book and video that anyone could use to learn to play didgeridoo, right in their own home. Thus, Didge For Sleep was created. Didge For Sleep is a DVD and Handbook (also available online) designed specifically to teach the didgeridoo to people with sleep apnea, snoring and other related conditions. Focusing particularly on strengthening the muscles of the throat and tongue and the entire respiratory system, this course starts with the absolute basics of breathing and gradually increases in difficulty up through some fun intermediate level rhythms.

Watch out how Didge For Sleep works:

Want to learn to play didgeridoo directly with a teacher? Check out our current course offerings.

Purchase the Didge For Sleep introductory Package, which includes a 90-minute tutorial DVD, 37-Chapter Handbook, Travel Didgeridoo, and access to our online video library (over 10 hours of tutorials) and member discussion forum.
The Didge For Sleep Introductory Package includes a 90-minute tutorial DVD, 37-Chapter Handbook, Travel Didgeridoo, and access to our online video library (over 10 hours of tutorials) and member discussion forum.

How to Overcome Obstacles To Progressing With Your Musical Instrument

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I recently had the opportunity to meet with a number of didgeridoo players around the world who are seeking to improve their playing, learn to circular breathe, add new rhythms, and be able to share music with friends, family and other musicians. Each one was hitting a wall in some way. I had to ask myself, why am I seeing the same pattern with all these players?

What I found is that each person had gotten to a certain point with their playing and is now stuck, not knowing how to incorporate new rhythms, new sounds, master circular breathing or achieve the goals they set for themselves. What I heard from nearly every person is that he or she does not have enough support.

Without a teacher or community from whom to learn many people are turning to the internet for tutorial videos or are trying to figure it out on their own. After now seeing hundreds of didgeridoo players I can confidently say that everyone hits obstacles. In fact, trying to do it all alone is a greater expenditure than actually paying for classes or lessons, as players spend countless practice sessions in frustration over how to figure out their instrument.

A teacher can open your playing up to infinite possibility. I got serious about studying piano four years ago and I did not know how or what to practice. I tried checking out some videos and it led to a very slow rate of progression. So I decided to seek out a teacher, Alex Pryrodny, a pianist I already knew whose playing I greatly admired. We began with basic exercises and simple pieces, building blocks essential for my growth as a player. After learning each exercise he always has another one, and each piece mastered lends itself to the next, more challenging and equally rewarding. Now I can play four of Bach’s Inventions for piano and have written a number of original piano compositions.

One of the greatest aspects of studying with a music teacher is learning how to continually be inspired. After each lesson with my piano teacher I come away with a renewed sense of possibility and inspiration. If I sit down at the piano the week after a lesson and play, there are so many fresh ideas to work on and it all seems so natural. However, when I practice after not having a lesson for a month or more, I work through some music but then quickly run out of ideas. It’s like I don’t really know where to take my playing any more. The teacher is able to see the student exactly where he or she is at give the most effective guidance.

Don’t have a teacher? Find a supportive community or another player who is at a higher level than you. This is the #1 way to improve yourself as a player.

10 Lifestyle Habits of Successful Musicians

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Bobby McFerrin - Successful musicians
Photo of Bobby McFerrin courtesy of Creative Commons
It is said you can tell a musician by the way he or she walks. To successful musicians, music is a lifestyle. These 10 lifestyle habits are some of the keys shared by the great ones.

 

***Product links in this article are affiliate links. You pay the same price and a percentage goes to Didge Project to help us further our mission of providing quality tips and tutorials for musicians.

1. Exercise daily

Keeping your body in shape is the key to a creative mind. Some of the most successful musicians attribute their musicality to their health. Many find running, going to the gym, yoga and sports to be a wonderful complement to their careers in music. Make sure that the exercise you choose will not have any negative effects on your instrument of choice (i.e. making your hands or throat sore).

2. Eat Healthy

In Three Wishes: An Intimite Look At Jazz Greats, legends of the 1960’s jazz scene (including John Coltrane, Miles Davis, Charles Mingus and many more) were asked “what are your highest values?” The most common reply: “health is wealth.” A proper diet will support a clear mind and a responsive body. To make sure you are working at your full potential, be sure that you are eating a balanced diet rich with whole foods. Try to limit processed foods where you can. Most importantly, test what works for you. For some people, no added sugar is a mantra. For others, being salt free is the way. Try omitting certain things from your diet for a day or two and see what works for you.

3. Practice daily

This one is obvious to any musician who has achieved a high level of playing. Even 15 minutes of practice time on a busy day can be extremely valuable. Go for quality over quantity and make sure you have a clear head when you go into your practice space.

4. Seek out a teacher

While it may be tempting to learn everything you can from YouTube tutorials, invaluable knowledge comes from study with an experienced teacher. Find a teacher whose playing you admire and who you find a good rapport with. It is guaranteed that a good teacher can give you materials that will push your playing continuously to a higher level and faster than you can do on your own.

5. Develop your sense of rhythm

As Victor Wooten says in his book The Music Lesson the key is to find the groove. Mr. Wooten is one of the finest bassists in the world and he cites this as one of his greatest lessons. By learning to stay with the groove and not falter because of playing the wrong note, he learned to keep the band moving along instead of having to stop every time a blunder was heard. Keeping the band together is an invaluable skill and developing your sense of rhythm will do this. Playing with a metronome can also work wonders.

6. Work on a solo performance piece

Virtuoso singer Bobby McFerrin says that an essential way to develop your musicality is to pick a difficult piece and learn it really well. This will add to your repertoire and give you many skills that you can apply to improvisation.

7. Learn the rudiments

Scales, arpeggios, paradiddles, vocal scans and other fundamental exercises are important to musicians of all levels. Each instrument has its own essential exercises and it is recommended that you learn these. Once you’ve mastered all your major and minor scales and arpeggios, which may take a serious amount of time, you will be well equipped to handle music given to you by composers. Once you’ve spent enough time with these exercises you can stop practicing them because you will have ingrained them in your musical vocabulary.

8. Study musical style

Most musicians do not limit themselves to study of a certain style. It is important to listen to and study music from many cultures and create a synthesis within your playing. Ray Charles saw himself as a fusion of traditional gospel and contemporary Rhythm and Blues. Each musician is a product of everything they ever listen to and practice. What are your influences? Where could you expand your stylistic knowledge?

9. Apply knowledge from other instruments

If you are a trumpet player its good to listen to and try to learn something played by a violin player. If you are a pianist, learn a piece from the guitar canon. This will help you see music from a broader perspective.

10. If you are an instrumentalist, sing! If you are a singer, play an instrument!

Make sure to sing everything you play. This is how you can develop your ear and hear things before you play them. Many successful improvisers have a vast catalog of licks and phrases which they can recall from memory on the spot. This is a skill developed through singing and repetition. Most western composers and singer/songwriters play piano or guitar. These chordal instruments provide a platform for understanding musical structure. Using your voice and playing a chordal instruments are some of the most invaluable musical development tools, no matter what your instrument.

Learn to play didgeridoo and master the technique of CIRCULAR BREATHING
Learn to play didgeridoo and master the technique of CIRCULAR BREATHING

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