Practice Does Not Make Perfect
(Originally posted on www.richdlin.com, Oct. 21, 2012, edited here)
Really, what is it with these click-bait titles? But as I said last week, it is true, even if it is click-baity. If you're wondering what I mean, read on.
So imagine someone comes up to you and says “practice makes …” and gives you that annoying lilty tone at the end that suggests you’re supposed to finish the sentence for them. If you’re in the mood and want this imaginary person to be extra irritating, imagine they are raising one eyebrow when they do it. Got the picture? Good. Now assuming you decide not to roll your eyes and walk away, the word that comes to mind is most likely “perfect”.
Practice makes perfect. Right?
That’s the saying and that’s what we’ve always been told. Math teachers assign homework to exploit this principle. Gymnasts spend hours doing handsprings for the same reason. Orators rehearse speeches. Singers croon in the shower. The list goes on and is lengthy indeed. There’s only one problem though, and it’s a big one. Practice does not make perfect.
Practice makes permanent.
And there’s a gigantic difference between the two concepts. Now I wish I could take credit for the saying “practice makes permanent” but I can’t. I first heard it at professional development seminar years ago, and if you Google the phrase (go ahead, open a new tab and try it – I just did), you’ll find tons of bloggers and videos discussing it. I guess I’m just one more in the sea of philosophers on this. But it’s my blog so I have no compunctions about sharing my take, especially as I was once stung quite directly by this concept, and I should know better. Here is the sordid tale:
In 2009, at the age of 40 I performed in my first ever play, and it happened to be my favorite play – Les Miserables. It was an amateur production, and I was overjoyed just to be a part of it. I had many different roles in the ensemble and the experience was unforgettable. I forged many friendships and have been performing in or directing musical theatre ever since. Back in 2009, the day we finished our last performance of Les Mis, I vowed that if I got the chance to do the play again I wanted to get a lead role – Valjean or Javert. I committed to improving my singing so that when the time came, I would nail the audition. I began singing every day, every chance I got. In the shower, in the car – even just hanging around the house. I do have some natural talent, for which I credit my paternal grandfather, since he was a world-famous Cantor. He used to coach me when I was young, before my voice changed. However I had no real formal training and had let my voice decay in my adult years. So I had a long way to go but a foundation on which to build.
Fast forward to June 2012. I performed in Jesus Christ Superstar and, owing largely to a paucity of male talent in the cast, I played the role of Jesus. I was elated but also scared to death. That is a ridiculously difficult role vocally, and would never have gone to me if there had been a tenor around, because I’m really a baritone. Preparing for and performing Jesus did things for my technique and range that I had only dreamed of. Working with the director, who is an extremely talented vocalist and teacher, I brought my voice forward light years. My performance wasn’t perfect for sure, and Ted Neely certainly has nothing to fear, but I was pleased. Now skip to October, 2012. Les Mis was back! This was my chance. I was a significantly improved singer and I was ready to nail the audition. The circle had come full. I would redeem myself and fulfill the dream.
Here’s the thing about Les Mis. It’s been my favorite play since I was 20 years old. I’ve been listening to the soundtrack for over 30 years. I know every word of every song from beginning to end. I can sing the play – all the parts – from memory, from beginning to end. And I do. Often. With the car windows down and my kids in the back. They love it. I think.
The thing is though, I mostly do it a Capella. Because I can’t play any instruments and my iPhone objects to being used in the shower. So at that time, for over 20 years I had practiced every song, mostly without any accompaniment. That’s a lot of practice!
OK. So the audition came. The director asked me to sing a song of my choice and I sang Stars. Then he asked me to sing parts of Empty Chairs at Empty Tables, Bring Him Home, Master of the House, and Do You Hear the People Sing. I sang them all getting happier each moment at how well my Jesus-trained voice was holding up. I really thought I sounded amazing. This director takes a few days to cast the show after auditions. Unlike Jesus, there was a lot of serious male talent in the cast, so even though I thought I did the best I could, I was prepared to not get the fairy tale of a lead role.
I did not. And the men that did deserved it. They were truly amazing. But I still wanted feedback from the director, who knew me very well. I went to see him the following week and told him I thought it was my best singing to date. He disagreed. He told me my pitch was off in quite a few places.
My pitch? Off? I did not see that one coming.
I’ve had and continue to have pitch problems for sure. It plagues me. But I can always hear it. That’s a good thing, because if you’re going to have pitch issues at least if you can hear it you can take steps to repair it. But I honestly did not hear a single bad note during that audition. I was legitimately confused, and really had to think about that one. And then it occurred to me. Practice makes permanent. I’d been singing Les Mis for so many years a Capella that I’d grooved notes into my subconscious that sounded right to me without an orchestra, but that were a half-tone off in certain places. And when I was singing at the audition, I didn’t even hear the piano, because I’d sung those songs so many times it was like putting on an old baseball glove. But I had practiced the wrong notes. A lot. And they had become permanent.
Lesson learned. The only consolation is even had I been pitch-perfect I still would not have landed a lead, because the male leads were so strong. But it hurt to hear I was off.
Well that’s the story that I wanted to start off with, and as it turns out it tells the tale pretty well. What it all boils down to is that practice is invaluable, but it is imperative that we be sure we are practicing perfect. The saying should not be “practice makes perfect”. It really should be “perfect practice makes perfect”. And the key is to make sure we are practicing correctly. It’s not a trivial thing. How can we know? Some easy tips:
Check regularly with an expert (your teacher, your coach, a trainer, etc.), even if you are an expert. For example, in the gym I’ve often seen experienced lifters consistently lifting with bad form and they don’t even know it.
If it’s singing or something physical, record yourself and listen/watch often. Seeing or hearing yourself from the outside is a whole different experience than what you feel when it’s happening. Using mirrors is good, but mirrors lie. Everything you see there is from the level of your own eyes. Most people won’t be seeing you from that angle. Plus, when the person watching you is not you, you don’t have the same constant feedback you use instinctively to correct things when you are looking into a mirror.
Don’t get complacent. Sometimes a slight deviation can creep in to something that was on track and though you think you’re still practicing perfect, you’re not.
When it comes to academics, don't get lazy. Solving problems with poor form and very rough work when you are doing your homework might seem reasonable since nobody but you will ever see it, but it forms habits that will manifest later, and also does not produce notes that you can reference later on. As much as you think you will remember what you were doing, you will not. Trust me.
For me, I continue to practice. But no more singing a Capella! It’s a trap and I fell for it. I won’t anymore. Now if only I could learn to play the piano …
Thanks for reading,