Kind and Wicked Learning Environments in musical study.

The subject of kind and wicked learning environments is complex. This blog deals with just one small application from research insights. Namely, using of feedback to make correct decisions. For deeper details, there are links in the Psychology today blog to the research papers and scholarly books. 

Definition: In a “kind” learning environment we learn from experience. For example, in sports we get immediate feedback because the distance between cause and effect is immediate. Furthermore, with help from the coaches, teammates, and others we progress through the predictable steps to mastery. Musical proficiency is similar. But, in “wicked” learning environments there is, for many reasons, no predictable path to mastery.  This blog will only discuss the “kind” learning environment and the role of feedback.

Feedback is crucial to learning a musical instrument. The popular late 20c. axiom, “feedback is the breakfast of champions” incapsulates this idea. Creating feedback loops in your practice is key to progressing with fewer setbacks and false starts. In lessons the teacher provides immediate feedback but at home we are left to our own devices. Here are a few strategies skilled music students use at home.

1. They listen to professional recordings of the music they are learning. This gives them detailed aural knowledge of how the piece should sound. Think of it this way. If a musician hits a wrong note when performing happy birthday, the revellers immediately know it. However, too many students practice wrong notes all week because they have no aural model to guide them.
2. Skilled music students know what they sound like and and have developed resilence to deal with it. I understand that this is tough for students who are uncomfortable hearing recordings of themselves. However, the benefits of pushing through this resistance are worth it in the end. With this type of feedback, skilled music students understand the reason a passage needs repeating. 
3. Skilled music students don’t skip assessments, workshops, or recitals and other opportunities to play in front of other people. This is like skipping games in sports.
4. Skilled music students are kind to themselves by nurturing and enlarging their capacity to be humble and patient. 

The links below go to the science. Psychology today has a list of scientific papers and links. 

If I can help you on your journey, call me.
 
David

References:
Experience: Kind vs. Wicked | Psychology Today
How to give and receive feedback effectively - PMC (nih.gov)

Revised 2024

I take lessons and play in several musical groups. Only one group needs serious practice of specific pieces outside of rehearsals. However, all the groups are populated with active and retired professional musicians, like me, who expect that I will show up ready to play. Furthermore, the teacher I work with expects me to show up prepared. 

Some weeks I'm given a dozen pieces to learn. This is how I manage.
​
I divide the pieces into two piles. The first pile consists of the pieces I can sightread. I never practice these. The second pile is divided into two further piles: the easy pile which consists of pieces that have passages that need the once over and the difficult pile that causes panic. I quickly dispatch the easy pile. In preparation for tackling the difficult pieces I repeatably listen to professional recordings of the pieces to have a clear aural understanding of the part. 

I then tackle the difficult stuff as follows. 

1. I work out the physical moves (fingerings) needed.
2. I practice so slowly that mistakes are rare.
3. I use a metronome.
4. I practice in small chunks.
5. I let the tempo on the metronome creep up slowly as I get more secure with the passage. 
6. I record the chunks and listen back. 
7. I never repeat a chunk without knowing why I'm repeating it. 
8. From the first reading I honour the dynamics. 
9. If necessary, I count aloud with the metronome keeping time. 
10. I'm patient. 

Because I've prepared properly my heart is not conflicted. I'm at peace with whatever happens because I have done all that is humanly possible. However, sometimes, life gets in the way, and I will show up less than prepared. Then the banked musical skills of half a century kick in. You may not have half a century of experience to lean into, but as time goes by you will.

If I can help you learn to practice, call me. 

​David
Revised 2024

Seven steps to learning a new piece of piano music.

1. Translate all the musical terms and write them in your score. These Italian terms tell you how to play the piece because they indicate tempo, mood, and attitude.
2. Locate three professional YouTube recordings of your new work. Play them in turn; make notes on how each musician interprets the score and musical terms from step one. If you can see their hands, note the gestures they use to interpret the score. (I write down what I hear and see directly in my scores.)
3. Using a slow metronome tempo, clap and count aloud any tricky rhythms you find.
4. If the music is complex, write in the fingering, measure by measure, hand by hand. The editor’s markings are often a good place to start. You just fill in the missing finger numbers. Experiment and carefully consider your choices. This will accomplish two things. One, you will be practicing slowly and consciously, hand by hand, chunk by chunk. Two, you will have time to play musically from the start because you will have time to consider the dynamics or articulations. Concurrently with the writing in the fingerings, consider the gestures needed to interpret the music. These might include fingers, rotation, drop, two note slurs, and other motions. If you are unclear about which gestures to use, call me. I will show you how, with the proper gestures, the composer's intentions are easier to realize.
5. After the initial consideration you gave to the fingering, dynamics, and articulations you are now ready to play with steadier time. Continue to count aloud, with a metronome, if you are having trouble with the rhythm. Don’t hesitate to work on your hands separately.
6. You now have a secure foundation to begin practicing in earnest. You have an artistic impression of the work, you’ve worked out the fingering, dynamics, articulations, and necessary hand gestures to interpret the music.

​If I can help you further, call me.
 
David
Revised 2024

Piano Practice Guide


What should I practice to learn piano?

Here are some suggestions to help you learn piano:

1. Scales and Chords: Practice playing scales and chords regularly to build finger strength and dexterity.
2. Sheet Music: Start by learning to read sheet music and playing simple pieces. As you progress, gradually increase the difficulty of the pieces you play.
3. Theory: Study music theory to understand how different elements of music work together, such as harmony, melody, and rhythm.
4. Ear Training: Develop your ear by listening to music and trying to play what you hear by ear.
5. Repetition: Consistent practice is key to mastering any skill. Try to practice every day for at least 30 minutes.
6. Posture: Make sure to maintain proper posture while playing the piano to avoid strain and injury.
7. Find a teacher or mentor: Consider finding a local teacher or mentor to guide you and provide feedback on your playing.
8. Remember, learning an instrument takes time and patience. Stay motivated and enjoy the journey!

Once again good specific advice. 

David

A Royal Conservatory student, practicing piano,
Should aim for consistency, not just a one-time show.

First, warm up those fingers with scales and arpeggios,
Then move on to pieces, to let the music flow.

Technical studies like Hanon or Czerny,
Can help to build dexterity and avoid any injury.

Sight-reading and ear training, don't forget to include,
These skills are crucial and can't be misconstrued.

Challenging repertoire, should be in the mix,
To push your abilities, and you're playing to fix.

Lastly, review and refine, what you've learned so far,
Take your time, be patient, it will take you far.

So Royal Conservatory piano student, keep in mind,
Practice regularly, and you'll see yourself shine.

I may lose my mind. 

David

How should I practice piano?

To practice piano effectively, here are some steps you can follow:

1. Set clear goals: Determine what you want to achieve with your piano practice, whether it's to learn a specific piece, improve your technique, or develop your theory skills.
2. Warm up: Start with simple exercises to warm up your hands and get in the right mindset for practice.
3. Practice consistently: Make a schedule and stick to it. Consistency is key to making progress on the piano.
4. Focus on technique: Pay attention to your hand position, finger placement, and arm movements. Make sure you're using proper technique to prevent injury and improve your sound.
5. Use different resources: In addition to practicing with sheet music, use educational books, videos, and online resources to supplement your practice.
6. Pay attention to detail: Slow down and focus on individual phrases and sections, paying attention to details like dynamics and phrasing.
7. Review and reflect: Regularly review what you've learned and think about what you need to work on next. This will help you stay motivated and make steady progress.

Have fun: Finally, make sure to enjoy the process! Playing the piano should be a source of joy and fulfillment, not stress and frustration.

----------------------------

Not bad. However, recording yourself is missing. 

David

The internet is full of hucksters telling you that learning to play the piano is easy. It's not, but it is fun. Every day I watch my students grow; the days turn into years. And, inch by inch, progress is made. 

If I can help you on your journey, call me. 

David
Revised August 2022

I found it extremely helpful over the holidays to practice with a video camera recording my progress or lack thereof. I played for 5 minutes and watched for 5 minutes. The camera was positioned so that the keyboard of the xylophone was visible. I was able to see and hear what was working and what was not and then adjust my next repetition accordingly. Video helped me to close the gap between how I thought I sounded and how I actually sounded. 

If I can help you, call me. 

​David
Revised August 2022

The above is the final take in ten takes over 20 minutes. 

Self-assessment is difficult because our minds play tricks on us. For more of the science of the dangers of self-assessment Google “Dunning-Kruger effect”.

There are several tactics students can employ to overcome or at least minimize the “Dunning-Kruger effect”.

1. Many students find that recording themselves playing is difficult. I understand but they need to push through the resistance. It is the best self-assessment tool that students have between lessons.
2. Take lessons, professional feedback is priceless. (I took sporadic lessons after university, then at age 42 I began regular lessons. That’s now twenty un-broken years of insights and feedback from my teachers/coaches.)

If you’d like some feedback, please call me.
​
David
Revised September 2022

1. Effective Practicing For Musician By Benny Greb. Practical steps with humorous stories. I love this book. 
2. The Musician's Way by Gerald Klickstein. For serious studious students with big ambitions. I love this book.
3. The Art Of Practicing by Madeline Bruser. A gentle holistic approach to playing music. 
4. Technique Of Percussion By George Lawrence Stone. Classic Old School. Stories back to the US Civil War Era to the 1960's. 
5. On Piano Playing by Gyorgy Sandor. A classic out of print book on specific piano techniques for advanced students and teachers. I've a well-worn copy.
6. The drummer's Lifeline by Peter Erskine and Dave Black. I usually avoid material with the words "quick fixes, hacks" etc. But I've made an exception for this fine book. 

David
Revised September 2022

I practice piano and drums daily, except Sundays when I rest. Recently my student Barb asked me, "how do you practice?" Here is my answer. 

1. I prepare to practice. My music and instruments are at hand and ready to go. As is my metronome, recordings, audio recorder, and pencils.
2. If the piece is new, I listen to the reference recording before commencing.
3. I plan out how I will play the piece. I consider fingering, dynamics, articulations, and the appropriate motions required to realize my artistic vision.
4. I warm up and stretch. (Students should warm up with scales and chords played gently and rhythmically with a metronome.)
5. I usually work with a metronome when playing jazz, but only occasionally if I'm working on my classical piano skills. However, I use it all the time if I’m on the drum kit.
6. I record myself as I practice. First, it helps keep me honest. Second, it helps me decide what and why I'm repeating the passage in question.
7. I practice piano technique and drum rudiments because technique is like muscles; it must be maintained.
8. When I listen to music, I ask myself, “what’s going on here?” I often write out what I hear going on. To date I have transcribed 100+ drum pieces alone. And over a four decade plus career, I transcribed countless jazz, and pop piano excerpts. 
9. When learning a new piece, I practice slowly with dynamics and articulations in place. I don’t add these later after "I've got the notes".
10. I’m patient because I trust the process. 

Have Fun. 
​
David Story
Revised October 2022

It depends.

It depends on your prior musical experiences and expectations. If your desires are modest, YouTube will work. But if you desire to achieve some level of musical competency you will need a teacher. Teachers provide objective and knowledgeable feedback. Teachers guide you through a proven curriculum that has been successfully followed by countless students. And when the going gets tough, and it will, a teacher will support and inspire you to keep going. 

If that sounds like the help you need, call me.   

David
Revised October 2022

Errors give feedback. Some errors are obvious, some are in disguise, and some are hidden from us. 

One of the most effective way of dealing with errors of execution is to step back and listen to your practice recording making notes of errors, misinterpretation, and omissions. Then consider the following. 

1. Is it a fingering problem? If so, change it.
2. Is it a conceptual problem? Then spend time listening to music from the same stylistic period.
   
3. Experiment by trying out the ideas you hear from professional recordings. because musicians understand that "we are who we listen to". 
4. Is it a technical problem? Have you mapped out the necessary choreography in the score? If keyboard choreography is unfamiliar call me, I can help. 

​The picture above is from a book I highly recommend called "The Musician's Way",  
​
Best, 

David
Revised October 2022

 Playing well ultimately means playing by ear.

Adult piano students tend to rely on their visual and analytical strengths. The parts that lead to professional success. Their tactile and auditory sides are often weak.

“Tactile, what’s that?”
“Playing by ear? I’m no good. Or really?” They either have little confidence, or they are unaware of how to use this skill already in their possession.  

Piano studies are traditionally a visual study based around the authority of the text. Obedience and deference are the watchwords.

But to realize your musical dreams and reach your aspirations this side will have to be developed and refined until you can confidently rely on it. 

A classical pianist executes a game plan. Every note has been planned and rehearsed. They have tried different approaches and made their decisions. They have learned every note by heart to a point where they can play with the music. What they hear they can execute. What they hear is based on years of study, practice, transcription, coaching feedback, concert attendance, theory and history studies and lots more. 

A jazz pianist plays what they hear in their head. They never execute an idea and say, "dang, where did that come from?' No way, their minds are singing just slightly ahead of their hands. What they hear they can execute. What they hear is based on years of study, practice, transcription, coaching feedback, concert attendance, theory and history studies and lots more. 

Playing imaginatively by ear requires a rich reservoir of musical ideas and experiences.

I can get you started by helping you play by ear. 

Call me, 

David

Links: ​Sound Ways of Knowing: Music in the Interdisciplinary Curriculum : Janet R. Barrett Claire W. McCoy Kari K. Veblen : Free Download, Borrow, and Streaming : Internet Archive

Know more than the notes. Exploring the questions of sociological context, compositional techniques, recorded history and more will add depth and sophistication to your playing and security to your memorization. 

Click on the picture for more, or for the "science" click the link. 

Here is a simple example:

1st Movement of Sonata in F minor op. 1

Who created it?
Beethoven, German Romantic era composer 1770–1827
When and where was it created?
1795 Vienna Austria
Why and for whom was it created?
Dedicated to his teacher Joseph Haydn. Apparently it was his first publicly published work.
What does it sound or look like?
Dramatic opening rocket type theme of the tonic, then dominant chord announces that there is a "new kid in town". Great dynamic contrasts throughout the movement keep us focused. A composition of a young man.
What kind of structure or form does it have?
Classic Sonata Form
What is its subject?
The interplay is between the 2 main themes in the exposition and their development through many key centers. 
What is being expressed?
Youthful exuberance, drama and compositional skill demonstration of the classical era style.
What techniques did its creator use to help us understand what is being expressed?

• Sonata form
• Tonic/dominant harmony
• Melodic development

David

1. Schedule your practice in your calendar and impress upon your partner, yourself, and/or children that this is important to you.
2. Go and hear a professional play once a month. Witnessing a live performance really helps to keep one's inspiration topped up. 
3. Collect and organize your equipment and practice space before you begin: Books, metronome, pencils, YouTube, and recorder ready at hand. Put the pets outside or locked up in another room.
4. Warm by stretching with some slow breathing exercises. Imagine the beautiful music you are about to play. Then play an old favourite to remind yourself of the work you've done previously and remind yourself of the challenging work it took to learn it. 
5. Play your technical exercises: Scales, chords, arpeggios. Or, whatever your teacher assigned. Play slowly, with the metronome, savoring the sound.
6. Pick a part in your new work to practice and then listen to the recording for a fresh impression in your mind. Resist the urge to play from the beginning to the end, stumbling as you go, and think you are practicing. Work in chunks and build the piece.  
7. Take a break, scan the internet for articles on how to practice the piano. Then...
8. Get back to work.

Cheers,

​David
Revised January 2023

An often overlooked and under appreciated activity is listening to our own practicing through audio playback and listening the great artists play our repertoire.

The first activity lets us hear the truth. Champions welcome feedback. I promise it won’t all be bad or embarrassing. Really!

The second activity gets the sound in our head out the hands. It familiarizes us to the musical language being spoken. A cornerstone of learning any new language.

Let’s dig down.

1.      Listening to ourselves, as objectively as we can, helps us to appreciate our progress. And, it saves time by exposing in short order what needs attention. No point wasting time on the whole piece when it is obviously measure 22 through 26 that really needs our attention.

2.      Listening to the music we are studying serves a number of purposes.

• It builds our emotional bond to the material
  
• It builds our familiarity to the stylistic approaches of different musical eras
  

          Baroque articulations verses Romantic ear articulations
          Swing jazz comping patterns verses Bebop comping patterns 
          Dynamics in early Classical sonatas verses late Romantic sonatas

It gets the sound in our ears though analytic listening. That is to say, what is going on here with:

• Dynamics?
  
• Balance?
  
• Tempo?
  
• Articulations?
  
• Pedaling?
  
• Phrasing?
  
• Tonal shading?
  

After years of teaching and practicing I've concluded: we can’t play what we can’t hear.

Cheers,

David Story

 

 

Why study in the summer? 

1. Keep your skills sharp.
   
2. Explore new things like making music on your iPad. 
   
3. With the extra time available you can really go deep and accomplish a lot. 
   
4. Get an early start on Rotary Fall Festival pieces. Who knows, maybe you can earn a spot in the Grand Concert in November.

Cheers, 

David Story 
www.davidstory.ca