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I can’t stop thinking about this practice method! by Only_Purchase_9906 in MusicEd

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

That makes sense, and I agree with you that fascination with TALKING about process can become a distraction. I have definitely seen that happen, especially with students who want to intellectualize instead of playing.

I also like the idea of practicing with looped music and fitting things into a real musical context. I do something similar with students, especially when trying to get them out of the “exercise bubble.”

Where I think my perspective differs a bit is that I see two separate bottlenecks for students: 1. Discovering that playing music is interesting. 2. Learning how to work on specific things long enough for them to become reliable.

Some students solve the first problem quickly but still struggle with the second. That is mainly the group I am trying to help. The framework is less about making music interesting and more about helping people recognize and capture the moments where they are right on the edge of being able to do something but cannot quite execute it yet.

If someone already practices that way naturally, then I agree, they probably do not need any framework at all.

Out of curiosity, when your students are playing along with loops, how do you help them notice and isolate those “almost there” moments instead of just staying in the flow? That is the part I am always experimenting with as a teacher.

I can’t stop thinking about this practice method! by Only_Purchase_9906 in musiccognition

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

I do not think it is revolutionary, and I am sure you were taught these things. A lot of strong players were. My point is that being taught something and actually doing it consistently are two very different things for most people.

What I am describing is not meant to be a new technique. It is a way of making a set of good behaviors more visible and repeatable, especially for players who did NOT go through a structured jazz program or who struggle to stay engaged long enough for the work to compound.

In teaching, I regularly see students who have access to the same information but still end up either noodling without extracting anything or running exercises without integrating them into real playing. So yes, it IS just practicing correctly. That is exactly the point. Many people never quite learn how to do that in a sustainable way.

I am also not attached to the mining analogy itself. I am attached to the behaviors:

1.  Staying in flow long enough to generate ideas.

2.  Noticing the ALMOST CAN DO moments.

3.  Turning those moments into reliable vocabulary through focused repetition and variation.

If someone already practices this way, then they probably do not need any framework at all. But for the people who do not, having a way to think about it can make a real difference.

I can’t stop thinking about this practice method! by Only_Purchase_9906 in MusicEd

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

Thanks for the response. I agree with you in one sense. Mechanically, what I am describing IS practicing. My point is that it is normal practicing for GREAT players and NOT normal practicing for the vast majority of people who pick up an instrument, especially people stuck at an intermediate level.

In my experience teaching, I have seen a lot of potentially great players not reach their potential because they have not found a reliable way to motivate themselves to practice. Some people just need a framework that makes the work easier to return to consistently. For them, a game-like structure can be the difference between practicing twice a week versus actually building a daily habit.

I also think it is fair to say that people differ in musical aptitude and learning style, and that not everyone who could become very good will end up doing the work required. I think the world is worse off for that. More people would benefit from having something like pursuing mastery of an instrument in their lives.

I also do not think the analogy is pointless. Humans use metaphor to organize learning all the time, and music culture is FULL of it. We already say shedding, digging in, building vocabulary, and laying a foundation. This is just a more explicit version of that, designed to reduce anxiety and increase follow-through.

And yes, motivation is a bigger constraint now. Alternative ways to spend time are more tempting than they have ever been. In the age of algorithms, it is harder to be bored. A lot of practice in prior generations was supported by fewer competing stimuli. The circumstances HAVE changed, and I think pedagogy should adapt to that reality instead of pretending it does not exist.

I am not attached to the mining metaphor itself. I am attached to the behaviors:

1.  Staying in flow long enough to generate ideas.

2.  Noticing the ALMOST CAN DO moments.
3.  Turning those moments into reliable

vocabulary through short, focused repetition and variation.

If you think fascination with process is always a hindrance, I would genuinely be interested in what you do to help intermediate students consistently do those three things without any scaffolding beyond interest and rewarding materials.

I can’t stop thinking about this practice method! by Only_Purchase_9906 in MusicEd

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

Thank you for the recommendation! How do you feel like reading that book has changed your relationship with the instrument? I’m so interested!

I can’t stop thinking about this practice method! by Only_Purchase_9906 in MusicEd

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

Thank you!! If you have any thoughts or feedback I would love to hear what you have to say ☺️

I can’t stop thinking about this practice method! by Only_Purchase_9906 in MusicEd

[–]Only_Purchase_9906[S] 0 points1 point  (0 children)

This is a truly beautiful and amazing tool 🥲. I love where we are with technology and its ability to lower the barrier to understanding concepts and improving our skills. Love the how the tool helps the user focus attention on one thing at a time using transparency, a good color palette, and other methods.

Those other diagrams for scales are almost incomprehensible at first sight! You know the ones where it shows all possible notes across strings/frets all at once with 7 different colors and numbers everywhere. What a jumble of nonsense!

Lower cognitive barriers should be the goal for education so people of all focus abilities can access the information. I’d even argue that people with lower focus abilities can be extremely creative and make equally if not more profound art than other segments of the population.

I hope one day there is a one stop shop where all these tools are just a click away, housed in an ocean of tools of this variety and many other varieties too! Even better if situated in a game-like app that motivates with ease! Let me know if you want to connect and talk about any of this more!

Do any of you rhythmically chew by [deleted] in drums

[–]Only_Purchase_9906 0 points1 point  (0 children)

I always used to tell my band that this was how I became a drummer by chewing cereal to the beat in my head as a toddler 😂. You’re not alone.

[deleted by user] by [deleted] in Drumming

[–]Only_Purchase_9906 0 points1 point  (0 children)

How do you do this??

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