Thanks for posting! Here is an annotated synopsis to take it in in about 10 minutes. www.ggoodhart.com Practiclass! This is a live video of me conducting a Practiclass at the International Teacher’s Retreat at the Jacobs School of Music at Indiana University. A Practiclass is an innovative learning experience in the form of a masterclass. Students bring in things in their pieces that they have worked on for weeks or months, but just can’t seem to get no matter how much they practice. They seem to have tried as hard as they can, but are lacking some undefined element that others who could play it have (talent?). What it always turns out to be is the way they work, and we investigate, experiment, and find the unintuitive solutions that lead all to good performance. Each situation is unique, but addresses things in most everyone’s practice that need work. I teach these things to the audience while I work with the student. The links will take you directly to the starting point for that annotation, and the other timing is the recommended point to watch to. ruclips.net/video/t9jjIzespJE/видео.html (:31-1:12) First attempt and it sounds pretty good. Many small problems that keep her from a confident performance are covered up, but it does not sound clean and, as she says at the end, she does not feel comfortable at that section when she plays it. It is hard to express yourself if you are fighting with your technique even if it sounds this good. She has worked hard already, and we might compare her to a ‘more talented’ student who in a shorter period of time could perfect and command that section at tempo. But guess what, it turns out it is only the WAY she is working. More on that in a minute. ruclips.net/video/t9jjIzespJE/видео.html (2:39-3:13) Slow it down and notice how much bigger the small problems seem. Time to identify and correct. ruclips.net/video/t9jjIzespJE/видео.html (3:14-4:53) Taking it apart and beginning to use varied repetition. The first one we use is right hand only to begin to address the string crossing problems we found when we slowed it down. Over the next 20 minutes or so we slowly incorporate other variations to find the sweet spot of learning. I also demonstrate the ‘international sign of learning’ Feel The Blearn! ruclips.net/video/t9jjIzespJE/видео.html (7:48-8:50) After some initial attempts at varied repetition using the right and left hands we start to look beyond that for the ‘sweet spot’ and begin to find it. The focus in the student’s eyes and approach becomes more evident. Learning efficiency is increased. We keep pushing and as we begin to solve one thing we then introduce a more difficult variation getting closer and closer to the sweet spot. ruclips.net/video/t9jjIzespJE/видео.html (9:16-10:10) Beginning to find that sweet spot. We’re starting to get there and we can see it in her eyes narrowing and the brow furrowing. Focus is increased and attention to detail heightened, a condition usually lacking in the practice of the ‘untalented’. We’re learning to Feel The Blearn (the burn of learning). I explain how these things direct our attention to overlooked places, and how our current use of assessment may not be evaluating the right things in the learning process. ruclips.net/video/t9jjIzespJE/видео.html (22:57-28:24) After much instruction to both student and group we go for the payoff. Here she is ending her first attempt at a safe tempo. Cleaner, and much more in control (as she says). Then we start kicking up the metronome speed and what do you know? She can play it faster and cleaner than ever before, and is now and in complete control, so that she can now work on expressing that section as she feels rather than wrestling with technical issues. She told us she has been working on this for one or two months, yet we solved it in under 30 minutes. Actually it was much less. What took most of the time was my teaching the group the particulars of this situation so that they could use it in their teaching and practicing (Each situation in a Practiclass has a unique set of psychological and neurobiological issues to understand). In reality this would take about 10 minutes in practice over a few days. ruclips.net/video/t9jjIzespJE/видео.html (28:55-29:25) And I wrap it up. As I say near the end, “This is where talent exists. In that small space where you think you cant do it, but you actually can.”
... but... it seems to me that in the end of the video she play at the same bpm she played at the start of the lesson... so, what is the point?... mmmhh 🤔🤭... but i m italian, so could be i do not understand what s going on here 🤪😜😃 and, more, the real problem for me, if i was her teacher, is not the speed, but intonation... but, again, i m italian, so my way is different! who knows? 🐻👍💥🚀💥
Thanks for posting! Here is an annotated synopsis to take it in in about 10 minutes. www.ggoodhart.com
Practiclass!
This is a live video of me conducting a Practiclass at the International Teacher’s Retreat at the Jacobs School of Music at Indiana University. A Practiclass is an innovative learning experience in the form of a masterclass. Students bring in things in their pieces that they have worked on for weeks or months, but just can’t seem to get no matter how much they practice. They seem to have tried as hard as they can, but are lacking some undefined element that others who could play it have (talent?). What it always turns out to be is the way they work, and we investigate, experiment, and find the unintuitive solutions that lead all to good performance.
Each situation is unique, but addresses things in most everyone’s practice that need work. I teach these things to the audience while I work with the student. The links will take you directly to the starting point for that annotation, and the other timing is the recommended point to watch to.
ruclips.net/video/t9jjIzespJE/видео.html (:31-1:12)
First attempt and it sounds pretty good. Many small problems that keep her from a confident performance are covered up, but it does not sound clean and, as she says at the end, she does not feel comfortable at that section when she plays it. It is hard to express yourself if you are fighting with your technique even if it sounds this good. She has worked hard already, and we might compare her to a ‘more talented’ student who in a shorter period of time could perfect and command that section at tempo. But guess what, it turns out it is only the WAY she is working. More on that in a minute.
ruclips.net/video/t9jjIzespJE/видео.html (2:39-3:13)
Slow it down and notice how much bigger the small problems seem. Time to identify and correct.
ruclips.net/video/t9jjIzespJE/видео.html (3:14-4:53)
Taking it apart and beginning to use varied repetition. The first one we use is right hand only to begin to address the string crossing problems we found when we slowed it down. Over the next 20 minutes or so we slowly incorporate other variations to find the sweet spot of learning. I also demonstrate the ‘international sign of learning’ Feel The Blearn!
ruclips.net/video/t9jjIzespJE/видео.html (7:48-8:50)
After some initial attempts at varied repetition using the right and left hands we start to look beyond that for the ‘sweet spot’ and begin to find it. The focus in the student’s eyes and approach becomes more evident. Learning efficiency is increased.
We keep pushing and as we begin to solve one thing we then introduce a more difficult variation getting closer and closer to the sweet spot.
ruclips.net/video/t9jjIzespJE/видео.html (9:16-10:10)
Beginning to find that sweet spot. We’re starting to get there and we can see it in her eyes narrowing and the brow furrowing. Focus is increased and attention to detail heightened, a condition usually lacking in the practice of the ‘untalented’. We’re learning to Feel The Blearn (the burn of learning). I explain how these things direct our attention to overlooked places, and how our current use of assessment may not be evaluating the right things in the learning process.
ruclips.net/video/t9jjIzespJE/видео.html (22:57-28:24)
After much instruction to both student and group we go for the payoff. Here she is ending her first attempt at a safe tempo. Cleaner, and much more in control (as she says). Then we start kicking up the metronome speed and what do you know? She can play it faster and cleaner than ever before, and is now and in complete control, so that she can now work on expressing that section as she feels rather than wrestling with technical issues.
She told us she has been working on this for one or two months, yet we solved it in under 30 minutes. Actually it was much less. What took most of the time was my teaching the group the particulars of this situation so that they could use it in their teaching and practicing (Each situation in a Practiclass has a unique set of psychological and neurobiological issues to understand). In reality this would take about 10 minutes in practice over a few days.
ruclips.net/video/t9jjIzespJE/видео.html (28:55-29:25)
And I wrap it up. As I say near the end, “This is where talent exists. In that small space where you think you cant do it, but you actually can.”
... but... it seems to me that in the end of the video she play at the same bpm she played at the start of the lesson... so, what is the point?... mmmhh 🤔🤭... but i m italian, so could be i do not understand what s going on here 🤪😜😃 and, more, the real problem for me, if i was her teacher, is not the speed, but intonation... but, again, i m italian, so my way is different! who knows? 🐻👍💥🚀💥