Harmony

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Most guitarists begin playing by learning a few chords. We
all remember the thrill of playing our first song after discovering how to form
our fingers into distinct shapes and then placing them on the appropriate
frets. From that point on, the song list may grow and the chords may become
more varied or complex, but the thrill of turning chord shapes into music never
dies.
Opening the door to chords and song playing on an instrument
as complex as the guitar unfortunately carries no guarantee of an intimate
relationship with harmony. However long the list of memorized chord shapes
becomes, the notes within the chords may remain a mystery and attempting to
determine which chords are in a song can feel like nothing more than an
exercise in frustration. What is it about harmony that is so alluring and yet
so elusive?
Aspects of the Principal
Elements of Music

Of the three principal elements of music (melody, harmony
and rhythm), melody boldly claims the
leading role. Melody is the part of the music that you hum or whistle. It is
the part that sticks in your head (whether you want it to or not!) and the part
that most often embodies the selling points of a song. When you want to bring a
song to mind for a friend, you sing the tune, or melody. If a song has lyrics,
they will ride on the melody, attaching in such a way that the emotions of each
become inseparable from the other. No one fails to notice a melody.
The next element in terms of strength is rhythm. Rhythm is visceral and primal. It
requires little effort to perceive, as it seeks and steals our attention.
Rhythm provides a foundation and support for the whole of a song. Without
rhythm, melody becomes vague and difficult, if not impossible, to catch, hold
or comprehend. Rhythm is what gets you on your feet at a concert, motivates you
toward energetic action in your household chores or prompts you to drum
unselfconsciously on the steering wheel of your car at the stoplight. Rhythm is
what grooves, swings or rocks!
Harmony, however,
is more subtle and complex than the other two principal elements and may
therefore be overlooked or underrated by the untrained ear.  Harmony is more than a decoration or dressing
for the song – it is a fundamental aspect of the structure. But while
fulfilling the weighty role of a structural component, harmony is likely be
received by the listener as an emotional or sensual quality – one which evokes
feelings such as fullness, sweetness, lightness, darkness or any range of moods.
Harmony in music is like that taste in a dish that although difficult to identify,
is responsible for binding and refining the more obvious flavors, thereby
sparking both a need to unravel the mystery of the recipe and a desire to
indulge more deeply in its richness.
Where and How Do You
Find It?

When you listen to guitar accompaniment or the vocal tracks
on a song you are listening to harmony – but how do you develop an ability to
extract the individual notes for analysis, study or replication? The key is to open
into the right brain, hone your concentration on a single harmonic line and
sing what you hear! Singing a note allows you to find and confirm it. In order
to achieve efficiency, consistency and accuracy in the search for a note or
musical line, singing must precede playing on the instrument.
I realize that not every guitar player embraces the idea of
singing. If you resist singing, keep in mind that in order to learn to hear
harmony you don’t need good vocal tone, an extensive range or impressive breath
control. In fact, it is not necessary for your singing to be heard by any ears
but your own. It is necessary, however, to learn to match pitches with your
voice (a skill that you will need for lead playing, as well) and to allow your
voice to search out and identify chord tones. Some very concrete pathways
toward hearing and singing pitches exist and they are yours to use at any time
in your musical life.

An Informal Education: Mom, the School Chorus and a Stack of Vinyl

I grew up in a house filled with good records. In addition,
I was fortunate to have both a mother with a musically developed ear and
a generous elementary school music teacher. Those two talented women
taught me to sing harmony at an early age, which, combined with my own patience and tenacity, led to my ability to pick out chords on the guitar, create
solo guitar arrangements, invent leads and more.
Although you may not share the benefit of having learned
harmony through childhood experiences, there are many ways to receive a natural
– and often free – aural education. My mother was unique in her combined
abilities to hear and impart musical pitches in a casual, unstructured way, but
any person who can sing harmony can assist you in hearing specific pitches.
Just ask someone you know who sings harmony to stop at any given point of a
song and feed you one or more of the notes in the harmonic line. Better yet,
ask that singer to teach you a complete harmony part to a simple, familiar
song. After you learn one part and can sing it accurately (and along with the
melody), practice it until you are able to do so comfortably without assistance.
By the time you’ve gone through this process with a few songs, you will begin
to feel confident and adventuresome!
If you don’t know someone who can give you individual
attention (or even if you do and just want to put more fun into your life),
join a choir! The Condit Elementary School Chorus did wonders for me! Expanding
beyond that humble group, I began performing at the age of nine in an a capella
vocal trio that my sister, our friend and I formed. (Read about The Starlettes here,
where you can also hear us nonchalantly wrap our 10 year-old voices around some
pretty sophisticated three-part harmonies!) The time invested in singing
harmony over a two year period proved to be more valuable to me than I might
have imagined!
Singing in a choir may not seem like an exciting or even
relevant venture for a guitar player, but trust me – it is. It’s also a free
musical education in more ways than one. The instruction that my ear received in
elementary school allowed me to teach myself how to play guitar by sitting for
hours at the record player and concentrating, chord by chord, on the songs I
wanted to play. Not only did I learn to play guitar, with time and study I was
able to acquire other marketable skills, such as composition, transcription and
arrangement – all from putting my ear to the speakers and singing what I heard.
The Value of Structured
Study

Regardless of your past experience, musical aspirations or
current level, you will deepen your knowledge and accelerate your progress
through the study of music. As a young adult, I committed to a curriculum that
I created toward my own goals. As a result, I experienced a dramatic increase
in my ability to quickly and accurately play on my guitar the sounds that I
heard on recordings or in my head. You can enjoy the same success by turning
your focus to an efficient and relevant study of ear training and music theory. Do the practice (which is actually a lot of fun!) and marvel
at your expanded guitar skills!

(A Guitar Player’s Guide to Music Theory and A Guitar Player’s Guide to Ear Training are
both efficient and relevant ways to become musically fluent. Also, feel free to
contact me for individual help with any aspect of your playing. I am happy to assist
you in person or by webcam)

Learning, Collaborating and Performing in Accordance With Your Nature

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Each of us has a unique nature and each of us comes to
learning guitar and expressing musically from a place that is tied to that
nature. As both a teacher and someone committed to my own evolution, I am
constantly investigating the many different ways we humans learn, process and
actualize, as well as what we find to be stimulating, what motivates us and
what makes us feel comfortable and safe. In teaching, I benefit from analyzing
and responding to the way people learn best (aural, visual, kinesthetic, etc.)
and whether they operate primarily from the left brain or the right, as well as
whether they are more active or passive in approach, what constitutes their
optimum concentration span, their natural tempo for communication and much
more. In working with a variety of traits, I have come to feel that the element
in our nature that may drive or affect our relationship to creativity and
performance the most is our place on the spectrum of introversion or
extroversion.

We live in a culture that places a high value on
extroversion. Our culture also values creativity, however, which seems somewhat
ironic, as the majority of people who are assessed as creative are also
classified as introverts. The irony lies in the fact that representing oneself
as a musician or other artist is likely to be uncomfortable for the introvert
and performing may feel like torture. Even entering into the study of music can
be daunting, due to the generally accepted cultural values of wealth and fame,
as represented by an emphasis on stardom and self-promotion.
Many of my new guitar students reveal a lot about their
nature in our first conversation by announcing “I just want to do this for my
own enjoyment.” Others reveal their dreams of fame and their dedication to the
path that will lead them to those dreams. Those students who recognize their
own traits are able not only to nourish their own inner being, but also to
inform others of those traits, in order to receive respect and assistance with
their goals.

There is no set definition of introversion or extroversion –
or, perhaps more accurately, there are many definitions. None of us is 100%
introvert or extrovert, but most of us fall somewhere on the spectrum of either
introversion or extroversion. When determining introversion or extroversion, it
is often necessary to look below the surface. For example, it is quite possible
to be shy and be an extrovert or to be an anxious introvert as opposed to one
who is calm. Because I am gregarious and talkative (traits usually attributed
to extroverts), I am often mistaken as an extrovert, but when given the choice
between attending a party or spending quiet time with a book, I will go for the
book every time. I need and enjoy people, but I always choose one-on-one
conversation over group interactions. I am uncomfortable in the spotlight and I
require a lot of time alone – preferably in nature – in order to charge my
creative battery and maintain my physical health and emotional well-being. Those
are traits that place me solidly on the introvert spectrum. It is worthwhile to
take time to discover your own traits in order to provide for yourself the
optimum environment for comfort, productivity and creativity.
If you are interested in these ideas, you will want to read Quiet: The Power of Introverts in a Noisy World, by Susan Cain. It is a
provocative and informative book and one that I consider important. Check out this TED talk by the author to learn about the subject and get a feel for the book. For a shorter synopsis that is accompanied by Molly
Crabapple’s wonderful illustrations, take a few minutes to enjoy this entertaining video.

Enjoy being who you are – The world needs
all of us!

Patience, Tenacity and the Value of TIme

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If
we are facing in the right direction, all we have to do is keep on walking ~
Buddhist Proverb

It
takes time to learn to play an instrument. As a teacher, I strive to organize
and present concepts and material in such a way that I can shorten the time
required for my students to comprehend and digest the information they receive.
Regardless of how well I do my job, however, no one will learn to play guitar
without logging in a lot of practice time – and that practice time must be
focused and efficient in order to produce satisfying results.

Ways to Use (or misuse) Time

In
studying music, we are called to not only spend time ingraining skills through
repetition, but also to devote time to independent
problem-solving.
Students commonly resist digging for an answer when, in fact, the deepest
learning comes from just such effort. If you find yourself saying “I don’t
understand” or “I can’t remember” quickly or often, try sitting with the
challenge until you are able to find or remember the answer. This type of
struggle is exactly what makes testing valuable – it pushes us farther than we
might push ourselves. When we train ourselves to not only work through
challenges, but to relish them, we boost our capacity for learning.

Another
consideration of time as regards learning and practice relates to attention. In The Book of Secrets, Deepak Chopra says “The misuse of time is only
a symptom for misplaced attention.” This broad wisdom certainly applies to the
study of music and the attention required.
For example, many guitar players choose to practice while watching
television, hoping to expedite progress in the mechanical areas of guitar
playing (building calluses, strengthening the fingers or programming muscle
memory) through multi-tasking. What is ignored in this approach is the fundamental
function of practice: what you do repeatedly, you will likely continue to do in
the same manner. In other words, however you practice is how you will perform. If
you practice unconsciously, you will likely play unconsciously in all
situations, resulting not only in the production of unsatisfying music to both
performer and listener, but also in confusion and anxiety in the performer who
is catapulted into a highly aware state when faced with an audience.
Time
is also a function of our learning in the choices that we make away from the practice room: when to
walk away and how to direct our energy when we do. Learning has a natural cycle
of activity and rest and by tuning into and responding to that cycle, we can
optimize our investments and our inherent abilities. If we ignore the rest
phase of the cycle, we not only suffer from a creative perspective, but we also
risk physical injury. Take time away from the guitar to enjoy new experiences,
open to fresh ideas and rest your mind and body!
Tenacity

Tenacity
will take you far in the study of guitar and in performance goals, as well. If
you are tenacious, it means that when you set a goal, you do what it takes to
achieve it.  Tenacity relates to will,
desire and determination.

The
emotional energy of tenacity is yang – it is an active energy. In attempting to
conquer procrastination or the temptation to jump ship, it is helpful to summon
that kind of energy.  Make a plan, stay
true to a commitment and employ discipline. Keep a practice log. Set regular
goals for performance (even if only for a friend or family member) or record
yourself. Get on it!

Patience

Unlike
tenacity, patience is the ability to be still and allow time to work its magic.
The emotional energy of patience is yin – passive and yielding. It feels like a
soft and willing kind of resignation that is a cousin to surrender.

In
order to increase patience, it is helpful to engage in practices such as
breathwork or meditation. Learn to emotionally detach from self-judgment and to
cultivate the ability to call up positive feelings about your musical
expressions at any given point. Consciously enjoy your playing, regardless of
your level, and be fully engaged and satisfied, while continuing to put one
foot in front of the other.

If we are facing
in the right direction

When
applying the Buddhist wisdom to learning guitar, it is critical to give
attention to every word of the sentence. Many determined people walk for months
or years in the wrong direction.

I
consider my principal job as a teacher to be to constantly monitor and correct
the direction that my students are facing. Determining direction is the part of
learning guitar that can be the most frustrating for those who are either
without a teacher or are taking lessons from a teacher who is bound to a strict
and inflexible curriculum. If you recognize yourself in this description, stop
suffering and start seeking the guidance that will point you in the direction
that you want to go.

Keep on Walking

The
word “keep” is critical. It takes time. It takes more time that you probably
bargained for. You may put in the time in increments of thirty minutes or you
may log in 5 hours a day, but know that it will take time. One day you will
look up from your playing and ask yourself “How did I get here?” The answer is
– you kept on walking!

Accessing and Nurturing Creativity

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“Creativity is seeing what everyone else has seen and thinking what no
one else has thought.” – Einstein

Accessing and acting upon unique thoughts and perceptions is
among the deepest and most satisfying aspects of being human. You may consider
yourself to be more or less creative than your peers, but regardless of where
you view yourself to be on the spectrum, there have probably been times when
you wished for some stroke of magic that would ignite the creative fire. During
those times, it is all too evident that creativity cannot be programmed or
forced; it can only be allowed. Cultivating certain habits, however, will
invite or stimulate the flow of creativity and once those habits become a part
of our lives, we discover that creative energy flows as naturally and consistently
as does the breath.
Tune in to the right
side of your brain

Creative ideas and expressions emerge from the intuitive
mind, or the right brain. You can stimulate and strengthen your right brain by
engaging in artistic endeavors, but it is also essential to know how to turn down
the dominant activity of the left brain. Begin this process by learning to turn
off mental chatter. (This is a skill that is practiced in meditation, so if you
don’t already practice meditation, you may want to begin.) Empty the mind
regularly. Give yourself permission to daydream. If you set an intention before
going into the silence, you may be amazed to discover how powerful your
intentions are!
Perhaps the most effective way to open a channel to the
right brain is to practice observing your thoughts and responses in a detached
manner. Releasing judgment of your thoughts and feelings allows them to expand.
As you learn to observe your thoughts, dismiss those that are narrow, limiting,
cumbersome or distracting.
Creative ideas spring
from varied perceptions and sources

Because the seeds of our own creative ideas and works
surround us, it makes sense to develop our ability to notice them. Begin to increase
your attention to details in your environment. Wake up your senses! (Remember to listen, as well as look, feel, touch and taste.)
Surround yourself with creative people and creative works –
it’s not only fun, it’s guaranteed to stimulate your own creativity. Go to art
galleries and concerts. Read. Choose stimulating and fresh entertainment over
that which is mind-dulling, predictable or manipulative.
Learn to see events and circumstances in ways that extend
beyond your normal perceptions. See humor or oddity, find beauty, experience
compassion. Tap into wisdom that lies beyond your daily awareness by learning
to find connections and to understand symbols and metaphors. Study and enjoy
the rich messages in fairy tales, myths and stories. Look for signs or insights
in seemingly trivial events. Find a larger meaning or a deeper message in the
details of your life and become aware of all that is presented to you,
personally.
Ego-driven goals conflict
with and distract from the accessing of intuitive information

It’s easy to become distracted by the ego. If we succumb to
that distraction, however, we will suffer from insecurity and be tormented by
thoughts and questions that sabotage our creative goals: “How will my work be
received? Do I look, sound or act intelligent or talented? Will my song
(painting, book) sell?” When you recognize that you have fallen into the ego’s
trap, make it a point to suspend all judgment and turn off expectations.
Remember that what you create doesn’t have to be cool, provocative, serious art
or even a finished piece. Instead, cultivate creativity as a lifestyle –
something that can be accessed when writing an email, choosing your clothes for
the day or setting a table for a meal. You are, by nature, creative. Relax and
enjoy it!
Commit to innocence and authenticity in your creations,
without regard for consequences, either positive or negative. Give yourself
permission to be expressive in all that you do.
Pressures, schedules
and deadlines rein in and corral creative potential and expression

Set aside time to write, draw or play music. A lot of “free”
time, without structure or discipline, can deteriorate into slouch time; by the
same token, a tight creative time frame is like a tight shoe – it’s unpleasant
and it doesn’t take you very far. Carve out broad periods of time and then
disallow distractions during that time, such as emails or telephone
conversations. Daydreaming, however, is allowed and encouraged!
Soften your eyes to
open your mind

Learn how to soften your visual perception, so that your
field becomes broad and limitless. Relax and expand your focus – or close your
eyes completely. Allow your internal eye to drift into the distance while
following thought streams. When you broaden your perception, you may notice
that you access specific types of information from different parts of your
visual field and that you can successfully connect the thoughts and images that
flow into that field.
Know Yourself

You are a unique individual with unique requirements for
optimum patterns of work, rest, social time and exposure to external
stimulation. Many people, for example, generate ideas best by working in a
team, while others feel overstimulated or squelched in the company of others. Discover
the environment that best nurtures your creative self.

Not only is the amount of solitary time a crucial element in
a creative lifestyle, but the quality of that time must be considered. Fatigue
or physical discomfort can sabotage a creative session, as can emotional upsets
or distractions. Strive for mental and physical clarity during times that you
want to express creatively.
Achieving the optimum balance often requires not only
self-discipline, but also a willingness to educate the people in your life as
to your plan. Once you’ve found that balance, honor it! 
For news of upcoming creativity workshops (as well as other workshops), visit the calendar page.

Guitar Workshop/Retreat for Women, Spring 2013

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The spring retreat took place this weekend. I loved having every one of these wonderful women join me for two days of good playing, good food and good stories.

We had perfect weather, so when we weren’t gathered around the dining room table, we were learning and playing guitar in the gazebo.
Those who spent the night in the tipi reportedly jammed until 10:00 and then slept until 9:00 the next morning. I guess they were relaxed and comfortable!
I’m including this picture as proof that I was actually in attendance. Sadie, who you might remember from a previous post (best. assistant. ever.), was also present. You can find her in Jenny’s arms in the tipi picture, above. Of course, the other kitties and horses helped, as well.

Big thanks and much love to all who came. I miss you already!

Listening

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Listening is the most important activity that we engage in as
musicians. Our motivation to play music is fueled by listening. When we play an
instrument, we must carefully and constantly listen to the sounds we are
creating in order to choose fingerings, dynamics, tempo and more. If we are
playing in a group, the success of the collaboration is dependent upon each
musician listening deeply to every aspect of the musical whole.  When we compose or improvise, we must first listen
to the notes and rhythms in our heads before we bring them to our instruments.

In studying music we must listen carefully to all
instruction, whether that instruction is formal, as in a lesson or a class, or
is one of many subtle hints that we encounter in our daily lives. As we
practice tuning into those enlightening hints, we also practice listening to
our own intuition, thereby reinforcing the very foundation of creativity.
One of the most exciting things that I do as a teacher is to
help my students expand their listening skills. Through study, anyone can hone their
ability to discern pitches and sort out rhythms. In order to achieve true
artistry, however, it is necessary to go beyond the classroom and to reach
deeply into personal experience. Consciously engaging in certain practices will
facilitate the process of listening as a means to enhance personal expression
and creativity.
Turn off the Noise

Today’s world is filled with both incessant noise and large
amounts of information that is transmitted at a rapid rate. As an adaptive
species, we tend to unconsciously protect our nervous systems from this barrage
by tuning out the noise and by receiving only the information that comes
through quickly. In receiving only the sounds that are most demanding, we lose
much of the beauty, wisdom and knowledge that reside in a subtle realm beneath the
noise. The solution is to scale back the noise and consciously invite our
senses to wake up! Simply choosing to stay home for a quiet dinner instead of
going out or to turn off the television in favor of spending an evening on the
back porch can open new mental and emotional pathways.
Spend Time in Nature
Although nature is far from silent, her sounds are more
conducive to clarity and creativity than those of the mechanical world. Make
time during the work week for lunch in a park or a walk after work and carve
out periods during the weekends to visit the ocean, a river, stream or lake. (Leave
your ear buds and cell phone at home!)
Meditate

Go into the silence at least once a day. Just try it. You’ll
be amazed at what spontaneously emerges.
Listen With Full
Attention

Give your attention to the sounds in your everyday
environment. By consciously tuning in, you will begin to notice sounds that
spark your imagination and to have new thoughts, ideas or encounters that
specifically relate to your goals.  You
will also hone your ability to choose a supportive environment and to create a
space in which you thrive.
Listening, like all other skills, begins with intention.
Merely by intending to increase your listening skills you will find yourself
increasingly drawn to opportunities to do so. 
If you are interested
in expanding your music listening skills, you can find help in the following
publications: Learning to Play Lead Guitar, Chapter
3 (Aural Comprehension); Comprehensive Guitar Instruction (DVD), Chapter
4 ; A Guitar Player’s Guide to Ear Training (Book and 2-disc set)

Living According to the Natural Cycles

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I choose to live in the country and adhere to a natural
lifestyle. I wake up every day with the first light and I spend approximately
two hours in quiet before getting to work. Only after I have completed my
morning program of exercise and meditation and have finished feeding all of my
animals do I become available to other humans.

I have managed for many years to be very productive and to
successfully interface with the outside world, not in spite of, but because of
my habit of listening to Nature and following her rhythms. My body likes it. My
emotions thrive on it. And my creativity demands it.
And so, tomorrow I will change the clock and attempt to find
a balance between the rhythm of my body and the false rhythm of the business
world. I don’t plan to tell my horses or cats or the many wild and beautiful
animals and plants who grace my presence, though, and so I will so be feeding and
watering at a different “time.”
Happy Spring to all!
If you are interested in the idea of living in harmony with
the natural cycles, you might like this article and video (posted March 6) of how to do so, according
to Ayurveda.



Why I Love Skype (Webcam Lessons!)

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Before I started teaching via webcam, I assumed, as
many do, that remote lessons would be a cumbersome substitute for “the real
thing.” I finally took the leap to teaching by Skype when a student bought me a
webcam and insisted that I save her the driving time to my house, which is an
hour from hers. What I quickly discovered is that webcam lessons are no less valuable
than in-person lessons – they are just different in some ways.

Because I rely heavily on my intuition when teaching, my
first concern was that I would feel less connected to the student. From the
moment a student enters my studio, I am assessing his or her mood, energy level
and feelings regarding the previous week’s practice. As the lesson progresses,
I am reading the student for blocks, confusion, frustration, resistance, fatigue,
excitement and interest. I proceed according to the cues I receive and I keep
the door to my own creativity open, so that I may determine the optimum tempo
and direction of my teaching.
Within minutes of the first webcam meeting with my generous
student, I realized that I was not limited in any way by the camera or the
distance between us. Intuition works long distance! There were some technical
glitches to get through, but those glitches proved to be no more than a minor
and temporary inconvenience. I began to take on more long-distance students and
with time, I discovered some unexpected and interesting dynamics that are
unique to webcam interactions.
Remote lessons have some obvious advantages: the student can
tune and be warmed up before the lesson begins; the lesson can take place regardless
of whether the student has a cold or is dealing with a logistical issue such as
car trouble or a sick child; the student can work in a comfortable and familiar
environment; the student can practice what he or she learned immediately after
the lesson; lessons are more likely to begin and end on time. What I didn’t
anticipate were some of the subtle qualities that actually increased the
intensity of human and musical connection.
When two people are interacting in the same space, there is
a constant, subconscious balancing of physical and psychic boundaries. When
those same two people are relating on webcam, there is an absence of the
energetic juggling and balancing that takes place in person, which leaves more
room for clear focus on the topic. In addition, by neither party having to be
concerned with invasion of the other party’s physical space, it is possible to orchestrate
close up views of hand positions or proper posture that might be awkward in
person. 
Because students are viewing their own image during a webcam
lesson, they have a tendency to focus on the task at hand more consistently
than they do in person, where they may allow themselves to mentally drift or to
be distracted by the environment. Also, the level of mutual conversational
respect rises acutely, as it is impossible to talk over one another on Skype.
The student who is accustomed to interrupting or talking over others is quickly
cured of the habit when he realizes that due to the delay, it doesn’t work.
I have a desktop computer with a different internet provider
that I keep beside the laptop that I use for my webcam lessons. This setup
allows me to use the desktop to choose and view a video of a song that a
student is interested in learning without compromising the connection or
interrupting the flow of communication. I often type out lesson notes to email
on the spot or after the lesson and I can scan in drawings, songs or charts to
send, as well. In addition, it is possible for either or both parties to record
some or all of a lesson.
The only limitation I have found in webcam lessons is the
inability to play along with the student, but this issue can be solved by using
simple homemade recordings or backing tracks. I do not recommend webcam lessons
for complete beginners, as it important for the beginning guitarist to have a
teacher who can physically assist with proper technique and posture, as well as other basics of playing. So, if you can “play a little” (or a lot!), and want
to join the fun, hook up your camera and schedule a lesson!

The Ideal Student

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I enjoy keeping in touch with other teachers, both in my personal relationships and through forums. One topic that often comes up among music
teachers is “the ideal student.” I never contribute to these conversations in any expected way, mostly because I feel that all of my students are ideal students!

 

Of course, I know that the accepted definition of a good
student is one who is punctual, learns quickly, practices diligently, is
enthusiastic and ambitious and who attends lessons regularly and is prompt with
payment. Those are great qualities in a student – they make my job easy and fun
and I definitely appreciate them – but I don’t feel that a student has to
exhibit any specific qualities from the start of the relationship in order for
both of us to enjoy a satisfying experience. I have grown the most as a teacher
and a person by working through situations that are challenging or
uncomfortable. Can you imagine the thrill I feel when a student who has been
through four, five or more teachers is able to break through to a level of
playing they have sought for years? It is exhilarating to be able to facilitate
that leap for someone who has persisted so diligently in their quest and I am deeply
grateful that they didn’t give up on their goals before reaching my studio!
I start with the basic premise that if someone enrolls in
lessons, they want to learn to play guitar and that no one intentionally limits
his or her ability to do so. My job is to assist my students in reaching their
goals and that means helping them to develop effective approaches to learning, successful
practice habits, positive responses to the process, concentration, confidence,
creativity, coordination, manual strength and dexterity, listening skills,
pitch sense, rhythmic sense and more. In other words, I see a teacher as being
far more than someone who organizes and disseminates information – I see her
also as someone who, by listening and attending to the whole student, is able
to assist, support and fully participate in the process of learning.
As for those “ideal qualities,” I find that by resisting the
temptation to hold them as expectations or requirements, I am able to enjoy
their emergence as a natural part of the process
of learning how to learn. The rewards are rich: I have the opportunity to
practice patience, commitment and creativity and the student learns to make
music! That is a beautiful and gratifying experience that I wouldn’t trade for
all the ready-made “ideal students” in the world.

Resolutions

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This is the time that many people are enthusiastically launching into fulfilling their New Year’s resolutions. Although I don’t make specific resolutions with the New Year, I do feel the urge to clear out the old and make way for the new (as evidenced in the last post!). Regardless of how we name our goals or when we set them, we all welcome ways to achieve them as painlessly as possible.
Although others tend to view me as being very disciplined, I feel that most of what appears to be discipline in my life is merely habit that has been consciously chosen and placed. Of course, there is discipline involved in establishing the habits I choose, but once they are in place, they carry themselves. Think about it – it doesn’t take discipline to brush your teeth in the morning, because you have established that as a habit! There are countless things that you do in any given day without having to make yourself do them, because those things are habitual. So, when beginning a commitment, it seems that the trick is to move as quickly as possible from discipline to habit.
As I’ve observed many students struggling with discipline over the years, I’ve considered how the process works for me. In doing so, I realized that I employ a few tricks that set me up for success.
Timing
Sometimes in our zeal to accomplish a goal we try to force ourselves into starting something new before circumstances are supportive or we are emotionally or mentally prepared. It is possible (and preferable, to my mind) to set your intentions and then wait and watch for the starting time to show itself. This does not mean that you give in to resistance, but that you tune into your thoughts and feelings and “step into the river.” Trust yourself!
Practicality
Before beginning a new commitment, it’s wise to make sure that your goal is a reasonable one rather than a fantasy. You might want to play guitar several hours a day, but is that really going to work in your current life? You are far more likely to achieve success if you initiate a small change and then let it grow naturally. By starting with a realistic and manageable commitment, you will likely find that with time things shift to allow for expansion.
Consistency
I’ve found that it is much easier to do something every day than to do it only on specific days of the week. If, for instance, you decide to exercise on Monday, Wednesday, Friday, you may always have in the back of your head that if you “need to”, you can put off one of those sessions with the hope of using one of your unscheduled days to “catch up.” As we know, things have a way of unraveling from there. Also, it is likely to feel more like discipline and less like habit if there are constant choices to make. A habit should just be a habit, absent of excessive thinking and planning.
Scheduling
It helps to attach a new activity or task to something that is already in place. Guitar practice might attach to dinner (my favorite guitar time – it’s dessert!), first thing in the morning or immediately before or after school or work.

Do you have any tricks for keeping resolutions? If so, I hope you will share them!