Using S.M.A.R.T Goals in Musical Practice

[Simon Lovelock]

[b] This post is about something very close to my heart, goal setting.... I know, I know, not particularly rock 'n'roll, but, a very relevant point I feel in music education.[/b]
[color=#333333]
You've probably heard about the ten thousand hour theory put forward by Malcolm Gladwell in his book 'Outliers' ([url="http://en.wikipedia.org/wiki/Outliers_(book)"]heres the wiki page[/url]) and whilst this is a hotly debated topic one thing is pretty certain. The hours are not as important as the type of practice somebody does (after all 10,000 hours of un-structured, un-specific practice probably won't make you Pino Palladino).[/color][color=#333333]
Before we consider[i] how[/i] we practice, more importantly is[i] why [/i]we practice. Its something I continually ask myself. Is it because we know that '[i]I must practice to get better[/i]' or is it '[i]I know what I wish to achieve and I have a plan to get there which requires practice[/i]'? Both viewpoints are similar but which one do [i]you[/i] think will give better results.[/color][color=#333333]
If your like me and think the latter is going to produce better results, being able to assess what our goals are quickly becomes very important.[/color][color=#333333]
So, what are S.M.A.R.T goals? S.M.A.R.T goals are a method of creating goals. View it like a checklist almost. S = Specific, M = Measurable, A = Attainable, R = Relevant, T = Time measured.[/color][color=#333333]
Have a more thorough look here:[/color][color=#333333]
[url="http://simonlovelock.com/wp-content/uploads/2013/07/SMART-Goals.jpg"][/url] Description of S.M.A.R.T Goals[/color][color=#333333]
So, how does this relate to practicing bass guitar?[/color][color=#333333]
Well lets take an example of something I hear a lot. '[i]I wan't to get better at arpeggios[/i]' Lets put the system to the test and see how it stands up as a S.M.A.R.T goal.[/color][color=#333333]
Is it specific? The more specific a goal, the more likely you are of reaching it. Our goal doesn't even state which arpeggio, and the answer '[i]all of them' [/i]will definitely not work with the latter stages of this process.[/color][color=#333333]
Lets just pick one, minor 7. Our goal now becomes '[i]I want to be better at minor 7 arpeggios'. [/i]Now, could it be even more specific?[/color][color=#333333]
The sort of questions that aid being more specific could be: In one position? All positions? One key? All keys? Root position or all inversions? All over the neck? or in a particular area of the neck? The list goes on, but for the purposes of this example, lets say '[i]I want to get[/i] [i]better at Cminor 7 arpeggios in root position from the lowest root possible, utilising the fingerings afforded to me by starting on the first, second and fourth fingers, ascending over one octave[/i]'.[/color][color=#333333]
By just working through 's' we now have something that is quite removed from the ambiguous un-attainability of '[i]I want to get better at arpeggios'[/i][/color][color=#333333]
Now, Measurable, how will we know when we've reached this goal. I find its very hard to decide when to stop practicing something. It can easily lead to that feeling of being in a rut and not knowing what to practice, which we've all probably experienced![/color][color=#333333]
Making something measurable could easily be a tempo (and subdivision) at which you desire to play something at. It could also be tone based, for example, playing through an exercise with no fret buzz. It could be as simple as playing through with no time, but no mistakes (a la Jeff Berlin) a number of times, 5 possibly, or a mixture of all these. (These will need to be recorded if you wish to be totally thorough)[/color][color=#333333]
So for our goal lets say '[i]I want to play 16th subdivision[/i][i] Cminor 7 arpeggios at 70bpm in root position from the lowest root possible, utilising the fingerings afforded to me by starting on the first, second and fourth fingers, ascending over one octave[/i]'. We now know definitively and can [i]measure [/i]when the goal has been completed.[/color][color=#333333]
A is for Achievable and this pertains really to do you have the resources and time to achieve a particular goal. So, if your bass is in the shop and your schedule is packed then maybe put off starting a musical goal until your bass is home and their is room in your schedule. So most of the time this just means asking yourself do I have a bass (or your particular instrument) and time... Simples.[/color][color=#333333]
Relevance brings us back to the beginning of this article, [i]why[/i] you are practicing something. Does the goal align with your bigger musical goals. A Cminor 7 arpeggio is pretty relevant to all musical endeavors, but, lets say you wished ultimately to get better playing pop and rock in a wedding covers band, then hammering minor major 7 arpeggios may not be relevant to that particular musical goal.[/color][color=#333333]
Almost there now, so 'T' is for time bound, this is basically setting a date for when you will achieve this by. This is hard when thinking about music because it will easily take more time than you think. It is always best to think how long will it take? then add a week. (Also remember if you don't make the deadline, you made it, so it can be changed!) Also committing to some time you will put aside to achieve the goal is a very important part of this final step.[/color][color=#333333]
With that in mind our goal could evolve into '[i]I want to play 16th subdivision[/i][i] Cminor 7 arpeggios at 70bpm in root position from the lowest root possible, utilising the fingerings afforded to me by starting on the first, second and fourth fingers, ascending over one octave, I will spend twenty minutes every day working towards this and record myself in two weeks time'.[/i][/color][color=#333333]
Now I hope you can see how evaluating your goals through this prism can highlight how to make musical study less scary and more manageable. A teacher can obviously help you with creating manageable goals that feel achievable.[/color][color=#333333]
Please feel free to direct any questions my way and also let me know how you get on creating S.M.A.R.T goals for yourself.[/color][color=#333333]
Si[/color]

[EBS_freak]

In your next post, are you going to tell us how we can be more lean too?

[stingrayPete1977]

I had to double take Simon's user name! But goals etc yes good but work always gets in the way

[Bilbo]

Superb stuff, Si.

My only observation is the inherent lack of clarity that this 'how' model provides in terms of the 'what' part of practice. A SMART objective that you set yourself is only as good as the insight you have into what it is that is worth practising. Your minor 7 arpeggio example is sound, to my mind, but I suspect a lot of people are guilty of spending thousands of hours practising things that have limited value, Often these are the things that I call 'party pieces'.

An example would be my first transcription of a Jeff Berlin tune - 'Bach' off Berlin's Pump It LP. I got the notes down and could play the thing all the way through. Had this not been pre-internet, I woudl have videoed myself and posted it as a 'Jeff Berlin bass cover' and got loads of gooey teenagers posting stuff like 'Man, you are AWESOME!!' I would have sat in my woodshed feeling good about myself and start working on Portrait of Tracy, Teen Town or the Mario Brothers theme for two handed tapping. At the time, I thought I was doing something important and useful. Thirty five years later, I can see what a waste of valuable time that was. I had no reference to key centres, no idea what the chords were, why the noites worked, would never have played the tune with anyone else in any situation whatsoever and had achieved nothing more than a rote learning exercise.

SMART objectives undoubtedly work but your [i]choice[/i] of objective needs to be properly thought out or you will be efficiently producing a useless product.

Great thread, Si.

[White Cloud]

Yup know the SMART mnemonic well, use it in my line of business from time to time.

Well....it can be applied to any desired goal or outcome imho. If you feel that applying it to your bass playing development will work for you - then go for it. Music is ART my friend...there are NO rules.

Edited August 2, 2013 by White Cloud

[tonybassplayer]

Perhaps we could crack out a flip chart and brainstorm it first then put the ideas together into a PowerPoint presentation ??

Apologies to the OP as its probably a pretty good idea but I just got so fed up with the whole corporate thing a few years ago.

[toneknob]

I'm going to de-couple the constraint corridors and upshunt our clear sky leverage on this one.

[wateroftyne]

[quote name='tonybassplayer' timestamp='1375461226' post='2161806']
Perhaps we could crack out a flip chart and brainstorm it first then put the ideas together into a PowerPoint presentation ??

Apologies to the OP as its probably a pretty good idea but I just got so fed up with the whole corporate thing a few years ago.
[/quote]

This.

[Raslee]

Art v Science debate! I'm not sure talent can be achieved through SMART, my opinion of course

[mtroun]

Definitely agree, there, Bilbo, If you're a late starter, it's encouraging to know that age and experience can provide you with greater powers to organise your practice time efficiently. One disadvantage is the amount of time late starters might have to pursue these goals as well as lack of youthful confidence to pursue your dreams.

While I understand that the practical value of learning two-handed tapping, crazy fast stuff etc is close to nil in developing as an employable musician, the process of emulating performances you admire armed only with enthusiasm is actually a pretty crucial one in the eventual development of musical knowledge (see 'Thinking in Jazz' by Paul Berliner and 'How Popular Musicians Learn' by Lucy Green). I think having the persistence to work on difficult rhythms and refine your ear to emulate a performance can help pique the curiosity needed to reach that next level of musical comprehension. Having a good teacher to help your analyse the value of what you're practicing and help put these things into the context of real musical understanding is invaluable.

In my own practice, I'm always striving for a kind of effortlessness (inspired by David Berkman's excellent book 'The Jazz Musician's Guide to Creative Practice' which borrows some concepts from Kenny Werner) I rarely practice fast or difficult to perform passages but aim for accuracy and consistency in performing very simple things, which gradually build up to more complex things. It's quite hard to explain that concept to a young, enthusiastic musician but hopefully the teacher/student relationship is the perfect way to harness both age and experience and youthful experience and marry the best features of those approaches.

I feel I'm veering slightly off the original post but I think as Bilbo said the choice of objective is absolutely key. One of my objectives for some time has been to play an improvised 12-bar blues line, perfectly in time to the metronome on all four beats at 120bpm, with absolutely consistent sound. This is actually practicing more than one thing at once but the focus is on the timing and sound rather than choice of notes. This is definitely something that I would have considered easy five years ago but the fact was I wasn't aware of the fact that my sound could be somewhat better (I work on that separately as well with the open strings) and my timing was not absolutely correct. Part of being able to practice well is being totally honest with yourself and ruthless, but only about the primary thing that you're practicing!

[Lfalex v1.1]

I'm waiting eagerly for the SWOT analysis...



Edit-
At work we specialise in SMT targets.
They're specific, measurable and time-framed
Just don't question their attainability or relevance.
And just because it's smart, is its [i]imposition[/i] fairly administered? By Vulcans, maybe. By humans? No.

Please don't mix business and pleasure.

Edited August 2, 2013 by Lfalex v1.1

[Bilbo]

Playing music is a pleasurable business. Why not use the tools of business if they transfer?

[steve-bbb]

you could SMART the technique for sure but the musicality? that will require some more outside the box blue-sky thinking methinks

[Lfalex v1.1]

Because it has no business component in it for me. I make no money from it, and do it as a hobby.
From a personal perspective, if I were to even consider using such methodology, I might as well quit totally tomorrow as it's very introduction would remove any aspect of enjoyment from playing.
For this sort of reason, I refused to study English A level. The study of literature destroys my interest in whatever I'm reading.

[Bilbo]

I mentioned once before here, the fun of working hard at something like music. Using these SMART techniques is not about 'business' it is about achievement and that is something that is neutral. The only 'business' here is the business of getting better at what you do. How you choose to use that newly acquired skill is entirely up to you.

PS I don't think 'Simon Says' you HAVE to use it. It was just a suggestion

[White Cloud]

[quote name='Bilbo' timestamp='1375468586' post='2161965']
Playing music is a pleasurable business. Why not use the tools of business if they transfer?
[/quote]
True!

[White Cloud]

It doesn't really matter how you decide to develop and advance, there will always be others who disagree with your chosen methods....because they aren't you.

[Lfalex v1.1]

[quote name='Bilbo' timestamp='1375469628' post='2161991']
I mentioned once before here, the fun of working hard at something like music. Using these SMART techniques is not about 'business' it is about achievement and that is something that is neutral. The only 'business' here is the business of getting better at what you do. How you choose to use that newly acquired skill is entirely up to you.

PS I don't think 'Simon Says' you HAVE to use it. It was just a suggestion
[/quote]

And herein lies the issue. Why do we [i]have[/i] to [i]achieve[/i] anything? Achievement isn't neutral. explain that concept to people who "fail" continually at things. And who is the ultimate arbiter of this success?
(For me) The entire appeal of music is that there shouldn't be an aspect of pressure attached to it, self-imposed or otherwise. It's why tuition doesn't work for me.

I realise it was just a suggestion, but it reads more like an edict.

Edited August 2, 2013 by Lfalex v1.1

[bagsieblue]

[quote name='Lfalex v1.1' timestamp='1375469231' post='2161979']
Because it has no business component in it for me. I make no money from it, and do it as a hobby.
[/quote]

I'd prefer to think of it more as a framework for improving what you do and also to be able to record and measure progress.

Good thread by the way - am looking forward to developing my learning/plan of work etc with input from this.

[scalpy]

The nice thing about music is that you decide you want to work on something there is some achievement in it, even if it is a blind alley ultimately. Bilbo's example of transcribing a Jeff Berlin tune may not have been the ultimate in musical achievement, but there's the inherent dexterity, aural training, transcribing of pitches and rhythms. All good stuff and a stepping stone to greater things perhaps. Making goals explicit works for certain personalities, but I have found that a person that is willing to adopt that mentality normally has a strong motivation to operate in an academic fashion anyway. What is just as important is finding a way of generating/maintaining motivation. Goals (targets in my line of work), even if they are attainable and carefully set can be as dispiriting for some as they are motivating for others.

[mtroun]

[quote name='Lfalex v1.1' timestamp='1375471071' post='2162019']

(For me) The entire appeal of music is that there shouldn't be an aspect of pressure attached to it, self-imposed or otherwise. It's why tuition doesn't work for me.

[/quote]

Just because music is pleasurable doesn't mean it isn't a craft that requires effort to make progress with. I have found the best 'pressure' to be after a gig when I assess what I could have done to make a better performance and that factors into my practice at home. I certainly enjoy playing gigs more when I feel adequately prepared to perform the music than when I feel out of my depth.

I don't really see how using SMART is adopting the tools of business, I thought it was an educational strategy? I tend to see these things as guidelines for the organic process of development rather than a straitjacket anyway, just ways of looking at things.

[bagsieblue]

To me SMART is a technique of setting goals and giving a structure towards meeting them.
This can be business based, educational, bass related and personal, anything really I suppose.

[paul h]

Lol!

I thought it was spam!

[Simon Lovelock]

Hi everybody, I'm new to the site but glad my article has ignited the interest of people on here.

I completely agree that the importance of what we practice is not as important as why we are practicing. I agree some of us spend thousands of hours practicing things of limited value. The R is important in that debate. Is your practice relevant to your musical goals.

The idea of this approach is to make your process of evaluation of your practice more cohesive and clear in your own mind.

This approach would not work if the R is not given the correct time and care.

This approach is not business like. It is a goal setting approach that works in business or any area where there is a linear trajectory from where you are to where you want to be.

I am applying some principles I learnt in CBT to musical practice. Next up will be an article on achieving musical life balance using a concept called A.C.E. I hope you've all checked my site and if you like my approach fell free to sign the newsletter.

Take care.

[xilddx]

[quote name='Bilbo' timestamp='1375468586' post='2161965']
Playing music is a pleasurable business. Why not use the tools of business if they transfer?
[/quote]

It will go above their heads Bilbo, most can't differentiate between clever and stupid, useful and pointless, truth and bollocks. As long as it looks like what they have been told is bollocks, they will think it's bollocks, and won't look any further.