Skip to main content

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.

Comments

Popular posts from this blog

Like Brushing Your Teeth

One of my teacher trainers told me that practicing should be like brushing your teeth. There is never a day when your tooth brushing is affected by other events in your day. The process is completely emotionally detached. I mulled over her words of wisdom for quite some time after she said them to me. What struck me the most was the suggestion of emotionally detaching myself. All my life I have been told that music is supposed to express emotion. So it was almost like it would be wrong to try and strip that away. For me, the teeth brushing example was a very interesting concept. I realized that the level of habitual repetition of that daily routine is rarely achieved in any other life areas. Dishes get put off, vacuuming, shopping for groceries.... but I always make the time to brush my teeth. Always making the time for practice? A lofty ideal indeed.

The Illusion of Mastery

Dr. Molly Gebrian touched on a concept called "the illusion of mastery" in her Rethinking Genius interview.   Basically, it's what psychologists call it when you do something over and over again, giving yourself a false sense of mastery. Wait... if you do something over and over again, shouldn't it be mastered? Well, not always. The true test of mastery is internalization.  If you're still having to follow the directions for how to make chicken, you haven't mastered chicken cooking.  Mastery means that you've cooked chicken so many times you're no longer worried about the basics.  It also means that you are confident enough in those basics that you are able to add extra elements with some degree of certainty.  For example, you know how the chicken should be cooked even after adding a sauce or extra seasoning. In other words: you can complete the task under pressure. The physical and psychological leap from the practice room to the stage is th

Interview with Michiko Yurko on Music Mind Games and Sight-Reading in the Suzuki Method

Welcome to Rethinking Genius, Michiko! Please introduce yourself and tell us about your company, Music Mind Games. Hi, Danielle! I am Michiko Yurko and I am the creator of Music Mind Games, a project I have been working on for 40 years. It’s been great! Music and education were important to my parents. Although they followed different professions, my father sang and my mother played the piano. I was always supported in my music and dance lessons and related activities so I have very positive memories of those years. My mom was an elementary classroom teacher and her extraordinary devotion to her students and her creativity taught me to be innovative in my own work. Music Mind Games, LLC was founded in 2005 after Warner Bros (my publisher for nearly 20 years) was sold to Alfred. Although they believed in my work and continue to publish the book Music Mind Games, Alfred said they could not afford to produce the Music Mind Games materials. My husband, Cris and I discussed all sorts o