INDIRECT PROGRESS

Several weeks ago, I had a very talented student work on a difficult section of a piece she was preparing. We went through it slowly, broke it down into bite size pieces, sang it the way she wanted to play it, considered many, many fingerings for the left hand and right hand, kept at it for an hour and were forced to stop (I would have kept going if it weren’t for my obligation to the next student who walked in the door!). The progress in the class was negligible and it was frustrating because I had tried many of the tools I use to problem solve with great success. It was more frustrating to the student who felt a bit disheartened because the passage remained difficult and clumsy. I wrote down a few more steps for her to work on at home and off she went.

The following week, she came in and apologetically said that she had only been able to practice two pieces that she was performing for her talent show and had not really continued to work on what we had isolated the week before. After agreeing to work on it again, we pulled out the guitars and prepared to jump back in. I wanted to hear where it was before dissection and her first attempt sounded brilliant, the few after sounded equally convincing, and after much praise, we went on to a different part of the song. She couldn’t believe it. I thought she had really worked on it but she insisted that she had not actively worked on it.

I spent some time thinking about what had happened in the course of the week to explain her improvement and realize that it is a situation familiar to me. I work really hard on a piece for months and months and sometimes years. Issues pop up and I try to solve them, sometimes not so well. I’ll put the song on hold or perform it and then drop it. Months after not working on it, I may, after warming up, try to play through it for fun and it is often revelatory. Many issues have been solved, perhaps by my subconscious. My mind and fingers are in a different place, figuratively, and my hang ups have loosened their hold (perhaps taken hold of what I am working on at the time!).

Practice and hard work really do pay off but they do not pay off in a linear fashion. They pay off indirectly and in delayed ways. They materialize when problem solving for other pieces or situations. Giving yourself (and your child) time to work through blocks indirectly, through other pieces or through time breaks, is sometimes necessary and more effective than tackling problems head on.

On Practice Time

Playing time should consist of a variety of activities. Depending on the amount of time spent playing each day or each week, young students and their parents should mutually agree to prepare for the upcoming lesson and to spend some time refining playing and improving skills. The positive correlation between increased time spent on the instrument and increased skill is not a myth. However, time spent on the instrument is easily wasted. Structure playing time around several of the following activities:

Right Hand and Left Hand Finger Activities – For the right hand, use string-crossing patterns or for more advanced students pick a right hand study. For the left hand, a movement requiring an anchor finger should suffice (anchor finger 1 down, then play a pattern like 13131 leaving finger 1 anchored/pinched for the duration of the pattern). For advanced students, longer patterns involving scales or slurs help to develop strength and accuracy in the left hand.

Favorite Song Review – Students (and parents) should always have a developing list of songs and activities to pick from every time they sit down to play their instruments. The more detailed the better: name of song, when it was first started, how long until memorized, tallies for successful run-throughs, time goals, etc. Having practice charts or notebooks also provide students with a diary of their accomplishments, trials, and history. Taking notes (parents) during lessons and during playing (questions that pop up) is also conducive to better results.

Learning New Songs – This process requires diligence. Learning a song with mistakes means playing with mistakes. Sitting down to learn a song can sometimes be overwhelming, though. Most often, an overwhelmed student falls into the “just play it through with the music a bunch of times” mentality. This method is not efficient and often leads to frustration. A method that leads to success, and one that I often use in lessons, is to learn ONLY two or three notes well (quality vs. quantity). The sooner (and younger) students form the habit of learning this way the better. Remember to keep this process engaging and interesting by asking questions that challenge the student’s perception of the newly learned material (two or three notes!). Students should be able to give precise answers to questions like: Which fingers are used? What is the string pattern for the notes? Do all notes sound clear? Does it sound beautiful? Any recognizable patterns? Do other songs use the same notes? Can you play it with your eyes closed? Can you play it looking at your right hand? Left? Etc…

Then, when the student has eliminated all doubt by questioning (with parents helping) the way they execute the newly learned notes, play a game to try and build on this success. Tallies are good motivators: play notes clearly, you get a point, produce a buzz or thump (parent sets challenge), parent gets point, first to five wins. Playing for pennies: student gets 5 pennies and a parent (or stuffed animal) gets five pennies. Play a group of notes well (try to specify goal), student gets a penny from parent, student plays poorly, parent gets a penny from the student. Game ends when student has all pennies. Onto the next round of pennies… Praise all successes!

Clapping, Listening, and Singing – Clapping, singing, and listening should never go underrated. Clap the rhythm of a part of the song. Listen to the song being learned several times. Listen to the rhythm, listen to volume/loudness changes, listen to the endings, and listen to the silence between notes if possible. Also, try singing along with the notes just learned. A simple “la” is fine but if there are words it can be more fun. Write words if the song doesn’t have any.

Creating Songs – Pick a song. Experiment with note substitution. What happens if we leave out all of these notes? What happens if we play this note instead of this one? Reassemble the notes of the song in a few ways and then write out any interesting or appealing groups of notes (in string/fret code if necessary). This is FUN!

For Advancing Students

Most of my blog entries focus on helping parents help their young children. And I tend to write on topics that are most useful for developing good playing habits at home. However, I am going to spend sometime focusing on advancing students – students who may be working more independently or who have reached the sophistication to add some more subtle points to their practice routines.

Though many parents and students have heard their teachers (I hope!) remind them to practice difficult parts slowly, most students do little of this because of the problems exposed – mainly, that they don’t know the piece as well as they thought they did. Nevertheless, slowing a passage or a few notes down provides ample time for actively questioning and observing what works and what doesn’t. So here are a few things to try to help develop focus, listening, and control:

Activity 1
1) Find and isolate a difficult passage from a song.
2) Play the first note and listen to it until you can no longer hear it (no buzzing allowed).
3) Imagine or visualize where the next note is, then, as smoothly (not quickly) as possible, place the next note.
4) Play this note and listen to it until you can no longer hear it.
5) Keep going until the passage is complete.

Activity 2
1) Choose a closed position scale (no open strings).
2) Immediately after plucking the first note, slowly relax the active left hand finger until hearing a buzz but don’t lose contact with the string. This is the breaking point at which the pressure of the left hand is too light to create or sustain a resonating note.
3) Continue to the next note and relax the active finger until the breaking point.
4) Complete the scale to acquire a feel for where the breaking point is.
5) Now, repeat the scale in the same fashion but relax the left hand fingers after they pinch to what is perceived as the moment right before the breaking point. In other words, relax the active left hand finger but retain just enough pressure so that the note does not buzz.

Good luck.

TUNING

If you click on the string you would like to tune, your computer should download a sound file. Try to match the pitch of the string to the pitch of the sound file.

STRING 1 – E (highest in pitch and thinnest in gauge)

STRING 2 – B

STRING 3 – G

STRING 4 – D

STRING 5 – A

STRING 6 – E