I read "Zen and the Art of Motorcycle Maintenance" decades ago (ugh) but I still remember the take-home message, which is that anything (even the art of motorcycle repair) can be understood and conquered if you look at it patiently, carefully, and in sufficient detail (I guess that's where the 'Zen' comes in). Which is something I might have done well to remember and apply to learning guitar___But did I mention I'm impatient? Like to get things finished? Preferably yesterday? Strange to say, this attitude doesn't seem to be working right now. Time for a little introspection - there are a lot of skills (from sports to fly fishing) where initially you can charge right ahead and make good progress, and then you reach a plateau where however much you practice it doesn't seem to get any better. I think I've reached this stage. Although I can kind of play my pieces, they often fall apart in the same places and suffer from being 'hit or miss'. Often it takes 3 or 4 run-throughs before I finally make it. That's not 3 or 4 run throughs once. It's each and every time I pick up the guitar.
The solution, my long-suffering guitar teacher has told me (maybe a couple thousand times) is to work on small parts slowly. I understand this. And I do start slowly, walking through challenging sections before speeding them up again. Sometimes this works (especially if I don't charge right ahead with the 'fast' until I've done a LOT of 'slow'), but sometimes it doesn't. Currently it seems more often than not. What gives?
Perhaps I'm not looking at things in sufficient detail and the slow version is a 'fudge' that doesn't work when sped up. It seems it's time for the 'Zen' approach. In other words SUPER SLOW - so slow it doesn't resemble music any more. So slow that each individual finger movement (on both hands) can be analyzed in detail. Does that finger need to hold on? Can it be released? When? Which finger(s) need to be prepared first for a difficult shift? What sequence should the fingers go down in?
Oh man, this is tedious! But wait - going super slow I just figured out how to stop that squeak (turns out I can release that single finger a little early, pick it up and place it back on the squeaky string while another finger holds an instant then slides on the nylon string. And the gymnastics required for preparing that next note while holding the previous one? I can actually release a finger I had been needlessly holding, which gives me a little more freedom of movement. And for that interval I keep missing, it turns out my hand is not moving back into position fast enough so I'm trying to fret it from an awkward position. Far from being tedious, this super-slow stuff is engaging - a series of little puzzles to solve, and best of all, resulting in solutions! Having figured out the solutions of course, the next step is to do lots of (regular) slow practice until the new movements stick in muscle memory. Only then do I get to see if I will actually start improving again. I can't wait! (but I will.... 😉 )
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Showing posts with label deliberate practice. Show all posts
Showing posts with label deliberate practice. Show all posts
Thursday, October 12, 2017
Thursday, February 9, 2017
The principles of effective teaching: can you use them in your own practice?
I was reviewing some teaching modules on adult learners and modern teaching theory and it struck me that maybe those of us adults who are trying to learn how to play the guitar could make use of these theories to help us learn. After all, adult learners approach learning a little differently than children.
How so? Well, most of us are learning the guitar because we want to, not because someone else thinks it's a good idea (ie intrinsic rather than extrinsic motivation). And we like to know exactly why we should do something a particular way. In fact my guitar teacher is probably pretty fed up with me asking him why I should bother to do it his way, rather than mine. The fact that he's pretty much always right (at least so far as guitar stuff goes) is irrelevant: as adults just don't take kindly to being told "it's just the way it's done", and are quite likely to ignore the advice unless we can see the reason for doing it or because our way isn't working 😒 (problem based learning). We are also likely to use many different sources of information apart from our teacher - reading around the topic, consulting web videos, guitar forums etc. as well as our own past experiences.
In short, as adults we like to be in charge of our own learning. So we shouldn't really be surprised that self-directed learning is at the heart of modern teaching theory, and as adults we may be able to use it to help ourselves in our practice. Even if we have a great teacher, she isn't there all the time so most of our "learning" is what we teach ourselves while we are practicing.
Where to start? Maybe an obvious place is with Anders Ericsson's model of "deliberate practice." Most of us are familiar with Malcolm Gladwell's now-popular concept that it takes 10,000 hours of practice to gain mastery of a particular skill, Not just 10,000 hours, but at least 10,000 hours of deliberate practice. (For the sake of our sanity, let's just ignore the fact that 10.000 hours is probably a gross underestimate for expert musicians, and most of don't have that kind of time anyway). Which begs the question, what exactly is "deliberate practice"? Yes it involves thinking about a problem, trying to figure out exactly what is going wrong, and hence how we could fix it. But is that enough for us to put it into practice for ourselves? How would a teacher direct the process of deliberate practice?
One of the essential tenets of teaching deliberate practice is establishing concrete goals, that once reached, represent mastery over that skill. We're not talking being able to play Concierto de Aranjuez here. Just small goals, specific problems. So suppose the problem is missing a string every time in a particular measure perhaps after an awkward shift. The first step is establishing the goal, i.e. making that shift at tempo in a legato manner (obviously without missing the string). The next step is to recreate the problem, breaking things down and analyzing them with a view to coming up with potential solutions. What is happening before we miss the string? Perhaps the arm didn't get into position because the elbow didn't move first. Perhaps it's hard to hit the string unless we pre-place the finger. Perhaps it's not something our hands can easily manage and we should think about a different fingering or position. Perhaps it's actually the right hand that's confused and causing the problem. Most of us have been told these things multiple times in different contexts, but perhaps don't think to use them to troubleshoot on our own. Drumroll: enter deliberate practice! After having come up with a bunch of potential solutions, the next step is to test to see if any of them fix the problem. If a teacher had been present, she might have short circuited the process and prescribed the solution, reiterated the key points necessary to "get it right" (perhaps it's pre-placing the finger) then asked you to do the shift slowly with the new technique. She might have interrupted the "wrong" technique, instructed us to go more slowly, whatever, until the correct movement sequence was firmly established. If we are teaching ourselves, obviously we may have to try a bunch of potential solutions and be particularly meticulous about checking we aren't falling back into the previous unsuccessful movement pattern, but the process is essentially the same. It may take longer than if the teacher was present, but as Lao Tse said: "If you tell me, I will listen. if you show me, I will see. But if you let me experience, I will learn."
How so? Well, most of us are learning the guitar because we want to, not because someone else thinks it's a good idea (ie intrinsic rather than extrinsic motivation). And we like to know exactly why we should do something a particular way. In fact my guitar teacher is probably pretty fed up with me asking him why I should bother to do it his way, rather than mine. The fact that he's pretty much always right (at least so far as guitar stuff goes) is irrelevant: as adults just don't take kindly to being told "it's just the way it's done", and are quite likely to ignore the advice unless we can see the reason for doing it or because our way isn't working 😒 (problem based learning). We are also likely to use many different sources of information apart from our teacher - reading around the topic, consulting web videos, guitar forums etc. as well as our own past experiences.
In short, as adults we like to be in charge of our own learning. So we shouldn't really be surprised that self-directed learning is at the heart of modern teaching theory, and as adults we may be able to use it to help ourselves in our practice. Even if we have a great teacher, she isn't there all the time so most of our "learning" is what we teach ourselves while we are practicing.
Where to start? Maybe an obvious place is with Anders Ericsson's model of "deliberate practice." Most of us are familiar with Malcolm Gladwell's now-popular concept that it takes 10,000 hours of practice to gain mastery of a particular skill, Not just 10,000 hours, but at least 10,000 hours of deliberate practice. (For the sake of our sanity, let's just ignore the fact that 10.000 hours is probably a gross underestimate for expert musicians, and most of don't have that kind of time anyway). Which begs the question, what exactly is "deliberate practice"? Yes it involves thinking about a problem, trying to figure out exactly what is going wrong, and hence how we could fix it. But is that enough for us to put it into practice for ourselves? How would a teacher direct the process of deliberate practice?
One of the essential tenets of teaching deliberate practice is establishing concrete goals, that once reached, represent mastery over that skill. We're not talking being able to play Concierto de Aranjuez here. Just small goals, specific problems. So suppose the problem is missing a string every time in a particular measure perhaps after an awkward shift. The first step is establishing the goal, i.e. making that shift at tempo in a legato manner (obviously without missing the string). The next step is to recreate the problem, breaking things down and analyzing them with a view to coming up with potential solutions. What is happening before we miss the string? Perhaps the arm didn't get into position because the elbow didn't move first. Perhaps it's hard to hit the string unless we pre-place the finger. Perhaps it's not something our hands can easily manage and we should think about a different fingering or position. Perhaps it's actually the right hand that's confused and causing the problem. Most of us have been told these things multiple times in different contexts, but perhaps don't think to use them to troubleshoot on our own. Drumroll: enter deliberate practice! After having come up with a bunch of potential solutions, the next step is to test to see if any of them fix the problem. If a teacher had been present, she might have short circuited the process and prescribed the solution, reiterated the key points necessary to "get it right" (perhaps it's pre-placing the finger) then asked you to do the shift slowly with the new technique. She might have interrupted the "wrong" technique, instructed us to go more slowly, whatever, until the correct movement sequence was firmly established. If we are teaching ourselves, obviously we may have to try a bunch of potential solutions and be particularly meticulous about checking we aren't falling back into the previous unsuccessful movement pattern, but the process is essentially the same. It may take longer than if the teacher was present, but as Lao Tse said: "If you tell me, I will listen. if you show me, I will see. But if you let me experience, I will learn."
Monday, January 23, 2017
Oh! The Joy of Recording Yourself Play ...
So long as I don't hear a recording of my playing, I can live happily in the knowledge that I'm producing something reasonably pleasant to listen to (despite the tendency of all my family members to request that I keep the door firmly shut when I'm practicing). However, time to kick the self-delusion habit - I'm biting the bullet and using the phone to record myself to hear what's really going on.
The first thing to overcome of course, is the 'red button' syndrome. (No matter that the button is sometimes white - it has the same effect in terms of inducing a state of panic, with predictably negative effects). I have been attempting to overcome this with a surfeit of exposure - i.e. during some practice sessions keeping the 'record' button pressed for every attempt - even if my efforts are sometimes so bad I have to delete without listening. This seems to be working, in that now it only really bothers me the first time I turn it on. OK so that hurdle overcome, what am I finding out? First, as expected, all those little (and not so little) problems become all too obvious - buzzing strings, missed notes, faulty timing (plus my recent recognition that strings ringing over to the next chord are making the whole thing fuzzy). This is proving helpful because I can now use the oft-recommended 'slow practice' on very small sections, and with concrete goals in mind, such as figuring out a way to stop that string buzzing, or make that slur actually sound. And after I've worked on it I can check to see if I did it right! Ditto using the metronome to make sure I'm not speeding up or wandering around with the tempo.
Second, attempts at dynamic contrast are scarcely audible. I'm trying to convince myself this is actually a deficiency of the phone's ability to detect rather than my ability to produce. On the other hand, it would explain my long-suffering guitar teacher's frequent request for "more dynamics." Sigh.
Third, tone leaves a lot to be desired. This is hard one - there is just a small chance that the paltry microphone on the phone is partly responsible for this, and I'm going to have to hook up the 'real' microphone to check one of these days. Unlike the other problems that I'm hearing on the recordings though, I will need help to work on this and it probably won't be an easy fix. One thing I do know - I definitely can't blame the guitar, because it's way above my pay grade...
The first thing to overcome of course, is the 'red button' syndrome. (No matter that the button is sometimes white - it has the same effect in terms of inducing a state of panic, with predictably negative effects). I have been attempting to overcome this with a surfeit of exposure - i.e. during some practice sessions keeping the 'record' button pressed for every attempt - even if my efforts are sometimes so bad I have to delete without listening. This seems to be working, in that now it only really bothers me the first time I turn it on. OK so that hurdle overcome, what am I finding out? First, as expected, all those little (and not so little) problems become all too obvious - buzzing strings, missed notes, faulty timing (plus my recent recognition that strings ringing over to the next chord are making the whole thing fuzzy). This is proving helpful because I can now use the oft-recommended 'slow practice' on very small sections, and with concrete goals in mind, such as figuring out a way to stop that string buzzing, or make that slur actually sound. And after I've worked on it I can check to see if I did it right! Ditto using the metronome to make sure I'm not speeding up or wandering around with the tempo.
Second, attempts at dynamic contrast are scarcely audible. I'm trying to convince myself this is actually a deficiency of the phone's ability to detect rather than my ability to produce. On the other hand, it would explain my long-suffering guitar teacher's frequent request for "more dynamics." Sigh.
Third, tone leaves a lot to be desired. This is hard one - there is just a small chance that the paltry microphone on the phone is partly responsible for this, and I'm going to have to hook up the 'real' microphone to check one of these days. Unlike the other problems that I'm hearing on the recordings though, I will need help to work on this and it probably won't be an easy fix. One thing I do know - I definitely can't blame the guitar, because it's way above my pay grade...
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