From the Practice Files, episode 10

• Jacqueline Whittemore

In anticipation of summer break and the chaos it can wreak on daily practice, I spent my last column problem-solving return to practice after a prolonged break.

Break.

Now, my choice of words grates – though most would consider it ironic. I say this as the mother of a dynamic, agile, and somewhat fearless child who managed to break her arm one week before the end of school for the second time in three years.

Having a strong work ethic and devotion to escalating her game, this break warrants a cast spanning from above the elbow to below the wrist as opposed to the previous time’s smaller, removable splint (see left). Marguerite likely will not have use of her cello arm for 6 weeks, at which point she is going to stay-away camp in the Smokies where heaven forfend she so much as stubs a toe!

Though it feels like forever in the moment – for parents and children alike – summer truly races by. Little time will remain between return to use of Marguerite’s cello arm and both the Austin Young Artist Summer Program and Knoxville Symphony Youth Orchestra auditions. Though it might seem time to push the Hoops and Yoyo panic button, instead I lean into an anecdote from Rosamund and Benjamin Zanders’ lovely book The Art of Possibility:

• A shoe factory sends two marketing scouts to a region of Africa to study the prospects for expanding business. One sends back a telegram saying,
  SITUATION HOPELESS STOP NO ONE WEARS SHOES
• The other writes back triumphantly,
  GLORIOUS BUSINESS OPPORTUNITY STOP THEY HAVE NO SHOES

Not having access to the left arm would be problematic long-term, but that does not mean doing without right now can’t be a unique and precious opportunity!

How different is it, really, from practicing blindfolded to hone confidence about finger placement and intonation? Pianists often practice one hand at a time when learning pieces. String artists often practice playing pieces without fingering in order to be intentional in string crossings, rhythm, and pacing. One must truly know a piece not to get lost when playing this way, must hear the fine product inside whilst other tones wrap around the outer world.

Stripping out the left hand also removes (an often welcome) distraction from one’s bowhold, bowing path, bow-stick-hair alignment, and use of bow length. As Thomas Wolfe noted, “I have to see a thing a thousand times before I see it once.” To have no choice but to maintain focus on the bow arm over a sustained period of time can be a gift – provided one embraces it as such!

Finally, not being able to jump into doing, playing, means there is more time to simply listen to music.

All likely require more parental attention, not less, if the child is to embrace the opportunity. Remember:
1. Practice is a dynamic, focused collaboration between the parent and child!
2. Suzuki is a way of life, so it should occur daily and be FUN!!!