Quotes About Practice

Whatever books you may read, you cannot realize the Divine merely by intellectual effort. Oneness can only be promoted by the practice of love.

We all love to win, but how many people love to train?

Love supposes, is, and does many things, but basically it is practiced in the act of sharing.

It's very much like opera singers. They do the same thing. The first thing in the morning and the last thing at night, the thing they think about is their voice and how to take care of it.

The greatest gap in the world is the gap between knowing and doing.

What many refer to as intuition, then, is not the untaught or unteachable but instead is a learned understanding and respect of process, molded by experience and refined over a great deal of time and practice.

You've got to look at the ways that religious beliefs work with religious practices to create a religious community.11 Believing, doing, and belonging are three complementary yet distinct aspects of religiosity

When you put individuals first, before society, then any rule or social practice that limits personal freedom can be questioned. If it doesn't protect somebody from harm, then it can't be morally justified. It's just a social convention.

No matter what gifts you have, practice is the only way to get better at anything. "If people knew how hard I had to work to gain my mastery it would not seem so wonderful at all" - Michael Angelo

If you want to get better, you simply have to practice. There's no way around it. Even though Prasad, Sona, and Rex all had beneficial early experiences with music, each has had to spend thousands of hours in practice to acquire their musical prowess. Rex told me, "If people could've lived my life and all the hours I've spent practicing the tuba alone in some little room someplace, they probably wouldn't label me as being particularly talented."[6]

Practice and playing music has to be like a religious experience. It has to be your religion, you know; it has to be your trance. You get something from a devotion to it and digging deeper into yourself and the nature of reality.

Forget about the 10,000-hour rule you've heard so much about. It's a red herring. What's important is not the hours you've practiced, but the kind of practice in your hours. Focus on the tree, not the forest.

The crossroads is a practice room. The devil to be dealt with is practice. Wynton Marsalis calls it "tackling the monster.

To see talent as a gift of natural ability instead of perceiving the long hours of practice that creates talent is nothing new. Michelangelo said, "If people knew how hard I had to work to gain my mastery, it would not seem so wonderful at all.

Here are just a few activities highly accomplished professional musicians consider to be practice, not in any particular order: Listening Performing Watching others perform Playing informally Improvising Teaching Composing Group rehearsal

So what do you think? Is musical talent something you're born with? Is talent something you either have or you don't? Is musical ability genetic, a gift that runs in your blood? Or is musical talent a result of practice? Does talent develop from mere exposure to music? Can you become more talented through effort? Your answers to these questions matter in a big way. The biggest way.

You want to be relaxed when you play, and practicing while worried or anxious won't help you achieve that relaxation.

Two kinds of practice contribute to the illusion of natural talent. I call them "accidental practice" and "play as practice.

There's a real art to not learning how to play an instrument and being able to still play it.

When great musicians practice, they go slowly enough that errors are avoided. When an error does crop up, expert practicers fix those errors immediately. That's the strategy: fixing a mistake immediately. Anybody can do it, and anybody who adopts that strategy will get better faster than those who don't.

Musical ability doesn't come from either the chicken or the embryo, it's the chicken and the embryo. Talent isn't some mysterious natural ability. Talent is practice in disguise.

Strong and sustained parental encouragement to practice was evident in virtually all successful young musicians.2 Encouragement is very different from enforcement, of course.

Beginners often can't perceive errors unless they're big ones, massive clams that cause the musical endeavor to come crashing to a halt. At this point, beginning practicers usually compound the error by returning to the top of the tune for another attempt, instead of fixing the error immediately, like experts do.

The fact that mirror neurons are activated when you hear and see a performance only reinforces why hearing live music is such a great idea. What kind of practice could be more enjoyable than kicking back and watching master musicians perform? I