Thursday, September 18, 2014

When to Practice by Yourself Part 2

In part one I discussed how the child changes around the age of eight.  In a nutshell: the child goes from highly motivated to please her parents to wanting to become independent.  This shift in the source of motivation can cause quite a bit of at-home tension.

So the first thing to do is acknowledge who wants want.  That adult/parent wants the child to play.  The child wants to play by herself.  A middle ground must be reached.

Since the child is motivated by independence, the adult should acknowledge this need.  Approach this slowly.  Find easy tasks that the child doesn't seem to need much help with.  For example, sight reading assignments.  If there's no new complicated rhythm in the sight reading, it's not unreasonable to have the child work on figuring out the sight reading on her own.  The goal of the assignment (to read notes) is very cut and dry.

The same goes for figuring out a new piece.  Provided the child has all the appropriate tools (sheet music and a recording) then there is no reason why she can't start this process on her own if that's the assignment from the teacher.

The adult's arena is to ensure quality.  This is less cut and dry and will also be met with resistance.  But it's also the adult's responsibility to establish the boundaries.  Establish what areas the child can do independently and what areas must be done together.  And then stick to those boundaries.

Anything that requires detailed perfecting should be a joint effort.  This is not simply about the number of repetitions.  This is about the number of quality repetitions.  So, for example, if there is a tricky passage in a piece of music.  The child may have an understanding of the passage but the adult is there to see that the passage is executed the same way every time.

A really good strategy for working with children of this age is to have a reliable neutral party.  This means having a recording device or a mirror readily available.  The neutral party removes the conflicting points of view.  Both the adult and the child knows the assignment.  The neutral party is there to prove if the assignment is being done correctly.

Monitoring quality does not mean that the adult has to be an overbearing tyrant during the practice.  Sometimes just being in the same room is enough to remind the child that quality is going to be important.  The job of the adult is to assert the lesson that practicing is not a simple task and is about more than establishing independence.

Thursday, September 4, 2014

When to Practice by Yourself Part 1

There is a huge difference between the four-year-old student and the eight-year-old student.  That might sound like an obvious statement.  Of course an eight-year-old is different.  And yet--almost without fail--the parent is inevitably shocked when it happens.  One day the child is fine happily following directions.  The next day that same child wants to do everything himself.

When this change takes place some things are easy to allow.  Of course the child can make his own cereal or dress himself.  Those are simple tasks and it's important that he start feeling independent.  With independence comes more responsibility.  The chores that can be assigned to an eight-year-old are different from what a four-year-old could do.  In many ways it's a relief for the parent not to have to monitor the child's every move.

But when comes to practicing this newfound independence usually leads to fights.  Gone are the days where the child is happily using a dice to determine the number of repetitions.  Now every repetition is a battle.  And to top it all off, the parent--in the child's eyes--is stupid and knows "nothing" about the instrument.

So the parent becomes exasperated and throws in the towel.  "Correctness" seems less important than just having a day where the child practices without a fight.  After all, isn't the most important thing that the child just plays?

Well... yes and no.

Here's the thing: an instrument is not a simple task.  This is something an adult understands but a child does not.  To the eight-year-old all tasks are equal.  The bottom line during this age is independence.  So long as the child gets to do it himself it's a victory.  Quality is not something that even crosses his mind.

But the adult can see that the quality is suffering.  It's not enough to merely do something ten times.  It has to be ten good times or the lesson will not be learned.  It is this conflict of interest that causes fights to ensue.

So when should a child practice by himself?  More on that in part two....

Thursday, August 7, 2014

Persistence Part 2

So let's go back to the practicing scenario.  If a student starts young--say, 3 or 4 years old--the decision to play an instrument comes from the parents.  Yes, a child may have expressed an interest in music but most certainly not in the hours and hours of practicing it will take to become proficient.  It is no wonder that this results in tantrums.  In the child's mind, this is not what he signed up for.

Where's the motivation?

There's no one answer to this.  Just like how there's no one answer for why you didn't exercise on that one day.  Maybe you didn't feel like it.  Maybe you were just plain ol' tired.  Maybe you were sore from the previous day's workout.  Maybe all three of these things.

Difficult practicing work may not be a top priority for a student so it's important to understand what does motivate the child.  Up until the teenage years, the desire to please is a very strong motivator.  If the child is receiving constant positive feedback and support from his parents the hard work begins to seem like more worth the struggle.

It takes awhile before a child is mature enough to understand the passage of time.  To him, the lesson could have just as easily been last month as last week.  This means the child most certainly does not understand the reason why he has to practice now so that way when he's 85 he'll be really really good at playing. Smaller goals also help with the concept of time.  Giving the student more immediate goals such as having three practices without tears (and hopefully a smile!) makes the challenges seem more tangible.

These are ideas but what persistence boils down to in the early days of lessons is persistence from the parents.  This is a tall order because persistence is not a natural thing.  The natural thing is to want to give up as soon as we are met with resistance.  Remember the gym?  If we, as adult, have the ability to give up on exercise so easily--even while knowing that it is necessary--then only imagine the mental struggle a child must be going through.

The key is not to become overwhelmed.  Accomplishing small tasks eventually adds up to a larger whole.  Don't think about how your child is never going to get a music scholarship with all these tantrums.  Focus on this week, this day, this moment.      

Thursday, July 24, 2014

Persistence Part 1

I want to explore the concept of persistence.  Persistence is something that I get asked about a lot, from parents in particular.  It's a perfectly reasonable question on the surface.  How do I keep my child motivated?

It's such a simple question that I think people expect a simple answer in response.  Especially if even the mention of the very word "practice" has the ability to create cataclysmic, world-ending tantrums.  It's natural at such moments to question your own sanity.  Why force to happen that which does not want to be forced?

And herein lies the issue with that sort of thinking: it implies that persistence is something that should come easily.  But it doesn't.  Not for anyone.

To put this into perspective for the non-musicians... let's talk about the gym.  The gym, I feel, is the perfect adult example.  We age.  It happens.  And as we age life gets in the way.  We get busier and our bodies maybe don't work exactly the way they did at 18.

We all want to stay healthy.  And most of us don't want to gain lots of extra weight.  On paper, we should all have the highest level of motivation to persistently go and work out.  But do we?

Maybe.

Some people love to work out.  The working out is its own reward.  But I would say the majority of the average population doesn't feel this same way.  I think most people have certain activities that they enjoy.  For example, going on hikes or playing tennis.  I also think that most people enjoy the results of being active.  The motivation lies in feeling better or even looking better.

And yet is this enough to make you unfailingly go to the gym every day?

Again, maybe.

I think most people go through ups and downs.  There will be periods where working up the motivation to go to the gym is easy and there will be times--maybe during the winter when it's cold and rainy--when wild horses couldn't drag you there.

I want to reiterate that this is for an activity that should have the highest number of motivational factors for most adults.

So what keeps someone going?  More on that in part two...

Thursday, July 10, 2014

Touch vs. Sight

When it comes to learning an instrument, the power of touch cannot be emphasized enough.  Consider how fast and sensitive touch is compared to another sense like sight.  If you touch a hot stove by accident you instantly pull away.  Your hand moves so fast that your skin does not even have time to burn.

By comparison, sight is much slower.  Has someone ever thrown something in your direction (a ball, car keys, etc...) and you are watching it fly through the air toward you yet you still don't react in time to catch the object?

A trademark of the Suzuki Method is that students learn to play without sheet music at first.  This is primarily to allow for the ear to develop.  But it's also to allow that sense of touch to mature.  Despite the sensitivity of touch (or perhaps because of?), it is the one sense that can easily get cancelled out by all the others.  As soon as the other senses are engaged, touch usually takes a back seat.

For example, as you read this blog, are you thinking about the feel of the chair you're sitting on or what your feet feel at this exact moment?

Playing an instrument well is not about having posture that looks right.  It has to feel right.  It has to feel natural, like the instrument has become an extension of the body and not some foreign object.

Thursday, June 26, 2014

9 Tips for Observing Your Young Musician



There are three people involved in the education of a young musician: the teacher, parent and child. The child’s role of learning how to play an instrument is very clear. The teacher is there to serve as a mentor and guide as the child begins his or her musical journey.

The role of the parent is more complex, especially if the parent does not know how to play the musical instrument. Of the three people involved, the parent has the power to create the most change. It is also the most difficult of the three roles, as the parent must assume the role of both student and teacher.

In order to have a young child succeed at a complicated task, a parent must completely internalize the concept that he or she is the at-home teacher. What's more, the child will be having lessons with his or her at-home teacher more often than lessons with a private instructor. Again, heady stuff if the parent does not know how to play.

You can find this booklet on Amazon, Barnes and Noble and most other major e-book retailers.