One of the most prevalent sources of mindlessness in our lives are the constant repetitive actions we carry out every day. Because of the cyclical, repetitive nature of many of our days, we tend to develop routines that require very little thought. We are not called “creatures of habit” for nothing. Our routines tend to be completed mindlessly in part because our minds are often occupied by other thoughts when we are performing them.
Ellen Langer includes a story in her book about a man who comes home after a long day of work and is preparing to go out to a dinner party. He undresses, showers, then puts on his pajamas and goes to bed. The beginning of his party-preparation and nighttime routines were so similar that he accidentally switched between the two mid-stream.
According to Langer, moving through our daily routines mindlessly week after week, year after year, can cause mental stagnation. We become locked into our perceptions of ourselves and the world, unable to assimilate new information. Mindlessness inhibits both our ability to reach our full potential, and our control over our lives.
For musicians, repetition is a necessary part of our practice room experience. The question is: are we repeating mindlessly or mindfully? Each repetition of a passage reinforces our mastery of its technical elements, but also serves to lock in our perception of the passage and our musical interpretation of it. For example, once we have repeated a passage one hundred times it is difficult to change the dynamics or the articulations. Technical advancement sometimes brings mental inflexibility. Mindless repetition past a certain point inhibits growth.
This is one reason why many brass teachers don’t recommend repeating the exact same fundamentals routine each day. Our fundamentals are perhaps the portion of our practice that is most repetitive and mindless, and if we do exactly the same thing each day, as with any other routine, we will be come dependent on doing it. We will be able to execute the technical demands of that particular routine, but will be unable to go beyond or outside of it. More importantly, our mental approach is completely set and closed. In order to enter a performance situation, we need to be open to new information and ready to adapt.
This discussion is not meant to challenge the necessity of routines. Our routines, both in life and in the practice room, provide us with structure and a certain amount of comfort (ask any parent). The aspect in question here is only the repetition of these routines without the active engagement of our mind. It follows that if we play mindlessly in the practice room, we may also do so in performance.
The next time you begin a practice session, take a moment to think about what you’re about to play. What is the purpose of playing this exercise? What should I be listening for in my playing? Do I need to do that again? What would be the best follow-up to this exercise today? When you practice a musical passage, do so mindfully, making small, deliberate changes in each repetition in order to maintain flexibility. Mindfulness is the process of constantly taking in the information that the current situation gives us and letting that information guide us on a path that is unique to today.