One of my hobbies is the game of golf. While I still maintain a double-digit handicap, I am totally committed to improving and learning more about this sport. As such, I have read and studied a great deal about Ben Hogan, one of the greatest players in the history of the game. While his prime years as a golfer were in the 1940s/1950s, present day golfing legends still talk about his abilities and approach to the game with great reverence. Suffice it to say that in spite of Mr. Hogan’s size (5’8”, 145 lbs), he was still one of the longest hitters on tour in his day in addition to being the most consistent and accurate ball striker. Mr. Hogan was also known for his legendary practice routine. Recently, I came upon an article that Mr. Hogan wrote in July of 1947, #18 of over 300 “Ben Hogan’s Golf” articles he penned for various sport publications. This specific article discusses his approach to practicing and I realized that it had a great deal of relevance to the discipline required to be an accomplished woodwind doubler. I think we could all learn something from Mr. Hogan’s thoughts on this subject. I have excerpted specific phrases from his article followed by my comments.
Hogan: The time to learn to organize your game is when you’re on the practice tee. That’s the place to start setting up the rhythm of each shot in your mind so that when you are confronted with a similar shot during a round you will automatically adopt that rhythm without having to think about each step….the rhythm I have reference to here could also be described as order of procedure.
Joffe: Instrumental practice sessions (our practice tee) provide the time frame to work on re-establishing proper breathing technique, embouchure formation, and finger work that will be employed in performance. Taking the time to reinforce these fundamentals prior to a rehearsal or gig allows the performer the opportunity to NOT think about these areas of concern when performing, similar to Hogan’s approach on the practice tee.
Hogan: When you practice, go out on the tee with a purpose in mind, not just for exercise.
Joffe: Similar to Mr. Hogan’s approach, the woodwind doubler really needs to clarify in his/her mind exactly what is the purpose of any practice session and what needs to be accomplished. Given the limited number of hours available for practicing on any one day, this becomes the ESSENTIAL trait that a professional multiple woodwinder must possess. For example, a practice day might involve working on developing a more homogeneous vibrato on flute; trying to establish a quicker single tongue articulation on clarinet; and improvising on saxophone over a tune while employing specific rhythms. It is understood that most concepts need to be addressed over multiple sessions.
Hogan: Before you start, allot yourself a definite time for practice. Plan in advance the kind of shots you are going to practice and how much time you are going to devote to each….My practice routine seldom varies.
Joffe: In my woodwind doubling book, I offered my approach to optimizing. a 3-hour or 6-hour practice day.
The 3-Hour Practice Session
- Breathing Warmups
Flute
- Whistle Tones; Sing & Play/Throat Tuning Exercises; Overtones/Long Tones (20 min.)
- Scales/Chordal Studies (20 min.)
- An Etude (10 min.)
- Piccolo (10 min.) Scales/octaves
Saxophone
- Mouthpiece Scales; Air-Sound Exercise; Overtones & Long Tones (20 min.)
- Scales/Chordal Studies (20 min.)
- Transcribing/Improvising (20 min.)
Clarinet
- Mouthpiece Scales; Air-Sound Exercise; Overtones & Long Tones (20 min.)
- Scales/Chordal Studies (20 min.)
- Etude(s) (20 min.)
The 6-Hour Practice Session
- Breathing Warmups
Flute
- Whistle Tones; Sing & Play/Throat Tuning Exercises, Overtones, Long Tones (20 min.)
- Scales/Chordal Studies (20 min.)
- Etudes/Sight-reading (30 min.)
- Repertoire (20 min.)
- Improvising (15 min.)
- Piccolo (15 min.) Scales/octaves
Saxophone
- Mouthpiece Scales; Air-Sound Exercise; Overtones, Long Tones (20 min.)
- Scales/Chordal Studies (30 min.)
- Etudes/Sight-reading (30 min.)
- Transcribing/Improvising (40 min.)
Clarinet
- Mouthpiece Scales; Air-Sound Exercise; Overtones, Long Tones (20 min.)
- Scales/Chordal Studies (20 min.)
- Etudes and Sight-reading (30 min.)
- Repertoire (30 min.)
- Improvising (20 min.)
Hogan: It is a good idea in hitting to your caddie [a technique that Hogan employed throughout his playing career] to pace yourself….In doing that you will find that neither of you will tire so quickly.
Joffe: Obviously, there are limits to how many hours in a day any woodwind doubler can practice effectively. While it’s not unheard of to read about pianists practicing 8+ hours a day, multiple woodwind players are more limited because of the physical demands that each instrument puts on the different muscles of the body. Whereas youthful flutists, clarinetists or saxophonists can play endless hours for a certain amount of years and succeed (i.e. Mike Brecker, James Galway, Stanley Drucker), a woodwind doubler needs to map out a different course. That’s where Hogan’s idea of pacing can be applied. While he took a break between shots in allowing the caddie time to retrieve the balls and ultimately start again, it is certainly a good idea for us to take a break after one-hour of practicing in order to rejuvenate. (If the doubler is to perform later that day as well, the amount of hours that the body can function effectively is being pushed to its limits.) Taking a 15-minute break each hour is therefore a positive initiative.
Hogan: I might add that while I am practicing, I am also working on my concentration. I never just walk up and hit a ball. I decide in advance where I want it to go. If something disturbs my concentration while I am lining up a shot I start all over again.…You will find an ability to shut out everything around you will be a great aid to your game.
Joffe: My suggestion stated above regarding taking a 15-minute break after each hour of practicing will also lead to improved concentration in the subsequent practice time. Spending that break while considering some of these options can lead to improved concentration: stretch, listen to some inspiring recording, read, have a snack, clean out the instrument, etc. Also, BEFORE YOU BEGIN PRACTICING, SHUT OFF YOUR PHONE. DON’T CHECK YOUR TABLET OR COMPUTER WHEN RESTING! You are on a desert island called “Practice Island.”
Improved concentration during practice sessions will invariably lead to improved concentration on gigs as well. Away from the horns, get involved in hobbies and other areas of interest. The brain needs time to decompress and engaging in other activities will enable you to focus better when you start up again with your instruments.
This Hogan-esque approach to practicing our instruments is one that I have come to embrace over my career. While it has never ended up allowing me to strike a golf ball like Hogan, it has resulted in me sounding better at the end of a day of practicing. Try it!
*For those interested in further parallels between music and sports, see my article “Golf and Music” on this website.