My passion is to help others in the community, young, old, and everyone in between, find relevance and joy in learning, performing or listening to classical music.

Thursday, June 18, 2015

Getting students hooked on practicing - game on, video game world!

As music educators and parents of musical students we probably all have in our repertoire of questions, “Have you practiced yet today?” or “How many hours did you practice this week?”  They are the questions we often feel we have to ask but also dread because of the answers, emotions and facial expressions they tend to evoke – I think you know what I’m talking about.

Just for fun, what if we followed the words “practiced” and “practice” with “video games”?

“Have you practiced your video games yet today?”
“How many hours did you practice video games this week?”

I have a feeling we’d get quite a different reaction, wouldn’t we?

There is no question that a high percentage of the population, regardless of age, love playing video games.  For some it is even an addiction.  Personally, I understand why.  Ever since I was young playing games has been a way for me to relax.  As a parent of a young child, it has been a way for me to spend time with my daughter, and as a teacher in a university, it assisted me in teaching students the importance of pulse and rhythm.  (Check out Symphonica if you want to experience a great music game app!) I love video games and often have to check myself to make sure that I’m not spending too much time playing around on my iPad instead of on the piano. 

With that said, I want to say right here and right now that I am also addicted to practicing music.  Unlike video games, however, the appeal definitely did not start until I was much older, when I finally started figuring out how to make practicing interesting, full of accomplished goals, and musical high scores.  As a practice coach, someone who steps into musicians’ practice rooms with them and helps them tweak what they’re doing physically and mentally, I’ve become more and more curious about finding ways to carry what we do when we’re gaming into our practice sessions with the hope that there’s a way to make practicing just as addictive and desirable as spending time in front of a screen.  In this article I want to explore what it is that makes video games the activity of choice for so many and to see if we, as music educators, can learn a thing or two from gaming that can help us make practicing a little less torturous in the minds of our students.

Video games are designed to get us hooked.  I know there’s a number out there for how much money is spent by the gaming industry on research but I’d rather just keep it simple and say, “A LOT!”  It seems they’ve whittled down the list of ways to get gamers coming back to the following must-haves.  Let’s take a look at some of them and evaluate how well practicing music provides these same hooks to keep kids going back to the practice room.

 Getting the High Score
I don’t know if there is a video game out there that doesn’t have a way of scoring throughout the game.  It doesn’t matter if the player is trying to beat his own score or someone else’s, that number at the top of the screen, or wherever it happens to be displayed, is always very obvious and well in the player’s line of sight.  For most people it is the pursuit of improving his or her own score or beating someone else’s that keeps them coming back for more.  And when the player achieves that goal?  Watch out!  The level of excitement and pride is usually palpable and the reward tends to be intrinsic rather than extrinsic, unless you happen to be at the arcades that hand out tickets that can be exchanged for less-than-high-quality-junk. 

Getting students to practice for intrinsic rather than extrinsic rewards is immensely beneficial and sets them up beautifully for a lifetime of learning – it also happens to be cheaper and easier for the teacher!   Before students can start sensing these internally motivated rewards, however, we need to teach them how to discover what their current high score is and to be able to know where they are at any given time in that pursuit.  There are apps and programs out there right now that actually are doing this.  The student can play through the piece of music and the program tells them how many notes were correct and which ones were missed.  Personally I’m not crazy about this approach because it runs the risk of teaching the students that absolute perfection is the goal – I’m not so sure that should be a goal in music-making, largely because I think it’s virtually unattainable.  And think about this – at least as far as I know, most games don’t seem to have one highest score.  It always appears that there is no end to the potential for improvement.  Perhaps even video games there is no perfection. 

What I do like about the programs, however, is that they are giving instant, specific feedback to the students and that is something they themselves tend to have a difficult time doing.  I think it would be ideal if we can find a way to get students to be self-evaluating their practice in an objective way, free from the negativity and self-defeating attitude that tends to seep into one’s feedback, so that students can give themselves their own scores throughout their practice and can keep pushing themselves to getting their new highest score before quitting for the day.

Exploration and Discovery of the Unknown
There are many games out there that are all about exploration and discovery.  Some, when you open them for the first time, tell you absolutely nothing about what you’re supposed to be doing or even what the final goal is.  It’s up to you to just start observing and trying things until a storyline and a purpose begins to emerge.  It is the norm with this type of game to find oneself in the same place for an extended period of time, doing practically nothing but thinking.  An outsider might question the appeal of such a game yet obviously they strike a chord in many people, myself included, because when you finally do figure out what you’re supposed to be doing you know that you’ve figure it out not necessarily by pure luck, but through using your brain.  When that happens to me it’s enough to make me feel temporarily brilliant.  Who couldn’t use a little ego boost now and then?

Two of the biggest problems I see with practicing these days are frustration and boredom.  When people think of practicing, they tend to only think of repeating things over and over and over and over again.  Throw in the metronome and then play it over and over and over and over again until it’s “perfect.”  Is it any wonder the student would rather play video games than practice?  What if we help our students see that learning music can also be full of discovery?  I spend a lot of time teaching musicians how to read patterns in the music rather than reading note by note so that they can start to make connections between different pieces, styles, and composers and so they can become more literate in reading music, just as they read books word by word, phrase by phrase rather than letter by letter.  This also enables them to simplify the music for themselves so that tricky passages become easier to understand and to solve.  It can reduce the need for repetitions and can give the students something to put their mind to when they do have to do them.  It’s about inspiring students to always be using their brains rather than simply shutting them off and waiting for progress to happen on its own.  As we all know, successful performances rarely happen randomly.   But when it happens as the result of a student’s problem-solving skills, creativity, and discovery, he or she will realize what they are fully capable of and that is usually enough to keep them coming back for more: more practice, more guidance from their teacher, and more performing!

Video games often put the players into someone else’s shoes; often times it’s someone completely unlike who they themselves are.  Whether it’s a sweet little magical boy in LostWinds, a hero in a role-playing game, or a detective in a mystery, those moments in front of the screen offer the gamer the opportunity to slip out of his own shell and to try on something new.  As with the last hook discussed, it allows the player to tap into his creative side and to express emotions and characters that he or she may not feel comfortable expressing on a day-to-day basis. 

Music offers the same role-playing activity if we choose to tap into that side of expression.  I love to ask students of any age and ability what character or characters they are trying to portray through the way they are playing the music.  More often than not they look at me like I am completely crazy.   If we can encourage young musicians to feel comfortable trying on different characters while they play, just as they do in video games, I think we’d find that it’s easier for them to get personally involved in what they are doing.  They will once again be using their brains, but in concert with their emotions and their untapped expression.   Just think of the high-scores that can come from that!

Feeling needed by others
I have yet to try online role-playing games like World of Warcraft because of how powerful these games can be.  In many cases players become so involved they can end up neglecting work and family, choosing instead to focus on their virtual community.  That concerns me.  But I think it’s important to figure out what the hook is in these games that make them so powerful.  I think it all comes down to gamers feeling like others need them. 
Even though there are far more negative effects this hook has on gamers, I think educators can and already do use the “all for one and one for all” mentality when it comes to playing in a band or other ensemble.  How often have we said to students, “Come on!  You are letting the group down.  Tonight you have to practice that hard part or else the concert is going to be a disaster!”  I’m not personally a big fan of this exact approach, but I do think it can be good for students to realize that they are part of a team when they are working musically with others, whether it’s a small or a large ensemble.  For students playing an instrument that doesn’t typically have a role in a team experience, I encourage teachers to find or make opportunities for them no matter how hard that might be.  For duos, trios…anything that takes them out of their little world and helps them to realize that they have something to offer others musically too.

Call me crazy, but I truly believe that as music educators, we are in the position to help young people discover within themselves the power of their mind and their ability to create magic through the medium of the arts.  We live in a time where their intelligence tends to be measured by tests that ask them to fill in bubbles on a page.  We live in a time where young people don’t know how to answer open-ended questions because they are so accustomed to having to give the only right answer.  It’s no wonder to me that they often don’t know what to do with themselves in the practice room.  They fear making a mistake, which of course is inevitable.  They get bored playing note after note after note without understanding how those notes can actually create a story.  And they are more often than not isolated and not understanding how this practice time can benefit them.  But how do those same children feel when plopped in front of a video game?  Do they fear making a mistake? Do they bottle their feelings up?  Do they require physical rewards to keep playing?  No, they don’t.  Because gaming helps them connect with their talents, their creativity, and their persistence.  It makes them feel good!  Wouldn’t it benefit us to try using those same hooks?

(As an interesting side note, I regularly took breaks while writing this article and guess what I did?  Yep, play a game on my iPad. )

Game on!!

Tuesday, February 3, 2015

A taste of something different - Annie Moses Band's Fine Arts Summer Academy

As a long-time blogger I frequently receive emails from people in the music industry who are wanting to know if I'd be willing to feature them on my blog.  I always check everyone out that contacts me but rarely do I agree to do a post because I consider this platform a place for my own ideas.  But last December I received a query from the Director of Development for the Annie Moses Band, a musical organization I hadn't yet heard of.  After doing some initial research I found myself unable to write my typical, "Sorry, but no thank you" response.  One of the first things I discovered was that the band and summer music academy they host are located in Nashville, Tennessee.  They're not exactly our neighbors, but now that I've lived in southwest Virginia for almost a decade, I feel somewhat of a connection to their crossover style that is a fusion of classical, bluegrass, folk, and jazz.  The second thing I discovered was this video they had on their website that gave a taste of what the Annie Moses Band does during the summer to inspire young musicians.

I was amazed by the unbridled enthusiasm that was palpable both on and off the stage.  Upon reading more about the summer academy I decided I wanted to find out more.

In January I spent an hour or so speaking with Ben and Alex Wolaver, the cellist and violist of the Annie Moses Band.  It was clear to me that we all share many of the same beliefs about music-making and how it can transform young people as musicians, offering them a voice for who they are as individuals.  I was impressed by their flexibility to work with many different types of musicians and talents regardless of their prior experience, and their desire to create shows that energize not only the performers themselves but also their audiences.  The Fine Arts Summer Academy is a different type of summer experience that seems to speak to so many of the ideas I believe in myself.  It is for that reason that I decided to ask Annie Wolaver Dupre, the group's violinist and lead singer, some questions as a way of introducing them to all of you.  My hope is that this might spark some interest in the hearts of some adventurous young musicians out there!  I'm so intrigued I may have to pretend to be a kid again to experience it for myself.

Beyond the Notes: Tell us a little about the Annie Moses Band - who you are, your background, and how you came to form your band.

Annie Wolaver Dupre: The Annie Moses Band is a classical crossover artist made up of me and my 5 siblings. Instrumentally, we are a string quartet with a rhythm section as well as harp, guitar and mandolin.  Vocally, I take the lead while several of us sing BGVs [background vocals]. The total package is 12 players and about 16 instruments. Yes, it’s a big crew!

We grew up in Nashville, TN where our parents are award-winning songwriters and composers. They wanted us to have the best musical education and started us at about 4 years old on our respective instruments. Initially we intended to pursue classical careers and the family moved to the NYC area while we studied at Juilliard. That was when we started the Annie Moses Band.

We wanted to perform music that was personal in its style, message and creativity. Our love of genres - folk rock, jazz, fiddle fusion, Americana and classical became the springboard for a sound that was naturalistic but innovative.  We love what we create and that we get to share it with audiences. 

BtN: How did the Fine Arts Summer Academy (FASA) come about?

AWD: The Fine Arts Summer Academy started at almost the same time as the Annie Moses Band. As we began touring around the nation, many parents asked us questions about navigating the musical development of their children. Around that time, we served as the artistic directors for a small arts academy in North Carolina. Through that experience, we saw the tremendous need for programs that combine classical training, commercial music development and great performance opportunities. FASA became our outlet to develop that kind of program.

BtN: What is your mission through your summer academy?

AWD: To provide life-changing performance experiences in elite venues, allowing students to develop as both musical technicians and engaging performers. Our students are featured in a series of festival style performances in Nashville, TN on world-class stages like the The Grand Ole Opry House and the Bluegrass Underground.

Music is one of the greatest spheres of influence in our culture. We believe that artists have a responsibility to be people of integrity. So there is also a focus at FASA upon the heart of the student and teaching them that their character is the wellspring from which they communicate through their art.

Ultimately, we want to take young students from the practice room to the concert hall alongside professional musicians so they can taste the thrill of high-level music making. 

BtN: Unlike many traditional music camps, FASA doesn’t have a typical audition process since students are only required to have had one year of music study prior to attending.  I’m curious about how and why you came to the decision to be so inclusive.

AWD: So often summer academies and their classes are divided into “haves” (those with money and support) and “have-nots” (those with no money or support).  We wanted to operate on a different model - an inspirational model - where people at various skill levels perform together.   

The music performed at FASA is orchestrated and arranged by our musical director, Bill Wolaver, in three tiers of skill. Intermediate and beginning players can perform alongside very advanced players with each student being challenged at their own level.

In addition to the orchestra, every student is placed in small ensembles or bands that perform in commercial music settings i.e. fiddle, rock, Celtic, etc. These groups perform music that is specifically designed to showcase the skills of the students involved. The level of customization we provide is unmatched.

Much of this vision comes from our Artistic Director, Robin Donica Wolaver. She grew up with very few musical opportunities but went far with music as both a performer and educator. She knew that there is a great injustice when often the hardest workers don’t have access to the best education.

We grant access to high-level education and performance to everyone, provided you can meet our high standards with courage and hard work.

BtN: You teach students about much more than just how to play their instrument.  Can you please share with us what else the students learn?

AWD: This is the best part of FASA! Because our classes are focused on preparation for elite and challenging performances, there is a strong focus on what it means to perform! How to command the stage, emote the feeling of the song or piece, capture the heart of the audience! For many students their entire musical education has been a technical focus. We are really good at practicing, but we want to be performers. So coaches work on stage deportment, the musical arc of a piece, choreography and movement, in addition to technical execution. 

BtN: In watching the video clip of the final performance it seems that there is an amazing amount of energy on the stage and in the audience.  What do you think is the formula for that type of enthusiasm?

AWD: That enthusiasm comes from the top down. The Annie Moses Band, the artistic and musical directors, Maestro Pak and the 80 faculty and mentors who instruct and perform create an environment that is highly demanding, but also supportive, loving, and joyful. We have a lot of fun at FASA! The friendships that spring up during the event are often deep. And when the audience sees the performance, they are witnessing excellent creators giving from the overflow of their heart, both love and joy for the music and each other.

BtN: Can you describe a typical day at FASA?  

AWD: During week 1 students have classes in technique, orchestra or chorus, commercial ensembles and bands, master classes, and private lessons. We also have evening workshops on music business and taking your artistry to market as a professional. 

During week 2 all the tracks of study combine to put on a line up of performances culminating with the Gala at the Grand Ole Opry House!

BtN: Something unique about your festival is that professionals perform side by side with students   What do you and the other professionals involved gain from those experiences?

AWD: The level of faculty at FASA is exceptional.  We pull from many of the brightest graduates and performers coming out of the nation’s best schools: Juilliard, Berklee School of Music, Cincinnati Conservatory and others. These performers are young, enthusiastic, high-skilled, and a great inspiration to the students.  

In numerous conversations, I hear first hand how much our faculty enjoy seeing growth in our students.  Because of the flexibility in our performance material, our teachers and mentors are able to engage students in an unparalleled way - using a different key, simplifying a passage or adding complexity to make a part more challenging.  This is all due to our in-house arranger, Bill Wolaver.  Growth in our students isn’t something we hope works out - we create the environment that makes growth happen.

As an experienced performer and instructor I can say that the final performance hits a level of energy that is exceptional even for me. 150+ performers collaborating in this kind of concert is just exhilarating. I am always astonished by how much students grow in such a short time. 

BtN: What would you say to students that have only received classical training and haven’t had much experience delving into different genres?  Will they feel like they have a place at FASA and what do you think they will get out of such an experience?

AWD: You won’t be alone! Every year we have students who come from a strict classical world and are nervous about jumping into alternative styles, but have no fear! We have incredible mentors who come from many backgrounds- studio musicians, commercial performers, as well as classical educators, and we will place you with players and music that will be super fun.  

BtN: What are 3 things that students attending FASA walk away with? 

AWD:  A knowledge of their own capacity for greatness.
The inspiration to work hard and find the best opportunities back at home. 
That music is about communicating love and joy to the audience and each other.

BtN: Is there anything else you would like to say to anyone who might be interested in the Fine Arts Summer Academy?

AWD: We can’t wait for this year! Come out and perform alongside us! Go to for information and to register.

Thursday, November 13, 2014

Making sense of song by Richard Strauss through botany

Yes, you read that correctly.  In the course of this one blog post I am going to attempt to use a brief study in botany to unravel an issue I am having in the accompaniment to a song by Richard Strauss.


My problem started with a rehearsal I had with a student vocalist.  I was sightreading Strauss' song, Gefunden.  Everything was going along swimmingly and I was thoroughly enjoying the tranquillity of the piece when we reached the last four measures of the song.  All of a sudden I felt incredibly disoriented.  I stopped the singer, looked at her part to make sure she was singing her line correctly, looked at my part to make sure I was playing the right notes, and then said, "Something isn't right.  I think there must be a mistake in the music."  The singer told me she had sung it over the summer and didn't remember anyone mentioning any misprints in the score so we decided to proceed as if all was well, with me declaring at the end of rehearsal that I would look into the misprint possibility.

 Last night I decided to face the music and see what I could make of the situation.  Pulling out the score and opening my laptop to YouTube I found a reputable recording and took a listen.  According to Hans Hotter and Geoffrey Parsons, musicians I figured I could trust, my score was, alas, correct.  Ugh.  Why? Why? Why?

Never wanting to grow enemies with something, especially in music, I decided to do what I do when I find myself starting to glower at the piano or the music.  I became determined to figure out what on earth Strauss was thinking when he wrote the part I didn't like.  (Notice the past tense there...this post is going to have a happy ending!)

The first thing I did was I looked up the translation of the song, reading first through the entire poem, and then focusing on the text in my thorn-in-my-side spot.  Here is a link in case you're curious.  It's a lovely poem by Goethe...the protagonist walks in the woods, encounters a flower which he bends down to pick, has a little conversation with same flower who asks him not to pick her, he digs it up instead and replants it near a house where it grows and blooms.  Lovely, right?  So what are the words when the crunchy, dissonant part occurs?  Here they are:
Now it keeps growing
and goes on blooming. 
OK.  Well, that didn't explain anything to me.  I still didn't get what Strauss is doing because I can't see any hint of negativity or angst in those words so I decided to try something else - looking at some theory.

Now before anyone stops reading this post out of fear and distaste for theory, let me assure you, this is not going to get terribly messy.  I am not a music theory nerd and I didn't do that well at it in school but I've always tried to apply it to my understanding of the pieces I'm working on.  My journey with theory, I'm sure, will never end and I'm always trying to learn more through direct application.  With that said, let's look at the score.

I'm great at looking at keys so let's do that and see if it gets us anywhere.  The song is in F major and for the most part it's straight-forward harmonically, although he does move into A-flat major several times.  But then we get to the first measure on the bottom line, which is pictured above.  Here, the piano, with no warning at all, goes into D-flat major while this time, the voice stays in F major.  F and D-flat major are not the closest of keys and if you look at that first measure you'll see that while the singer is singing a D the piano is playing A-flats, G-flats, E-flats, and C's.  Oh my - lots of dissonance!  Even at the end of that measure, the singer moves down to a C but there's also a D-flat just a half-step up from that in the piano part.  The second measure is not quite as crunchy but I feel pretty confused about where Strauss is going harmonically until the second half of the measure when the piano part abruptly shifts yet again, but this time back to F major to join what the voice has been doing all along.

At this point in my investigation I was intrigued.  I felt like I was definitely onto something.  I looked back at the text again, read the entire poem several times, and tried to picture what was going on.  It was then that the proverbial lightbulb went off over my head.

In this story, a flower, roots and all, gets dug up, carried away, and transplanted to a different location.  I'm not a great gardener but I have tried my hands at it enough to know that moving plants from one place to another has its risks.  Transplant shock is a real possibility which can cause a plant to die.  Perhaps that is what is happening in these two measures at the end of Gefunden.  The piano part is like the plant being suddenly plopped in a completely different place, dealing with new soil, light, and exposure to the elements.  There is a sense of conflict and discomfort.  By the middle of the second measure, however, it has thankfully adjusted and finds itself growing and thriving once again.

Perhaps I'm being far-fetched but in my mind, who cares?  What matters is that now I have an explanation, at least for myself, of why the accompaniment is the way it is.  And now I am eager to try it out with the singer and to see what I can do to make it all work together in the artistic way Strauss probably intended.

Success!  I told you this would have a happy ending, as virtually all my musical investigations do.

I'll leave you in the hands of Hotter and Parsons...enjoy!

Saturday, November 8, 2014

Giveaway of my book, Inspired Practice and SPECIAL SALE!!!!

A few weeks ago I was contacted by the inspiring and wonderful Wendy Stevens - pianist, composer, blogger, and entrepreneur extraordinaire.  If you haven't run across her before, you need to get to know her, especially if you are a pianist and even more so if you are studio teacher.  She has so many brilliant ideas, great resources on her website, has written some amazing, fun rhythm books, writes wonderful compositions, and is so willing to share what she has learned from her years of teaching. I've admired her for years and have purchased a lot of her products so when she asked if I'd be willing to donate a copy of my book, Inspired Practice,  for her to give away on her own website,  of course I was delighted and honored to say YES!

The giveaway is going on for another 6 days,  ending on November 14th at 11:45pm.  All you have to do is go to her blog, read her little interview with me and then enter!  Actually, you don't really have to read through the interview, but why not?  There's a link within the post that will take you to the giveaway.  And be sure to check out the myriad of ways you can increase your chances of winning.  The more you share the private link you're given when you enter with others, the more entries you get!  What fun!

But wait, there's more!! 

I was going to wait until I had written my 300th blog post (only 2 more to go!), but I felt like now was the right time to put on sale both the softcover of my book and the PDF version.  It's the least I can do to thank everyone for reading my blog and my Facebook page on a regular basis.  So for right now, for a mysterious length of time, the prices are:

Softcover - $20.00 plus applicable taxes/shipping & handling (normally $28.95)
PDF - $5.99 (normally $9.99)

So what are you waiting for?  Help me celebrate my almost-300th post by buying one for yourself, your teacher, your students, or a friend.

Click here to see more info about the book and to place an order.

Many thanks to everyone who reads and comments on my blog.  I appreciate knowing that people are reading the crazy things I have to say! 

Monday, November 3, 2014

A fresh new view of "technique"

I have been told ever since I was a little girl that I have great, natural technique.  But here's the odd thing - I have consistently avoided practicing technique all of my life.  As a matter of fact, and this is the first time I've publicly admitted this, when I was getting my undergrad degree in piano performance at the Eastman School of Music and studying with Nelita True, I stealthily defied her rules and got through my three or four years with her without ever passing her technique exam.  

Before you judge me, let me tell you, if you just knew what it was like, you'd completely understand!  Even the thought of this technique exam gave people nightmares!  Everything was on it - every scale in every direction, contrary motion, thirds, sixths, and octaves.  I think Mr. Hanon was involved...Moszkowski too.  And of course the metronome marking at which this all had to be delivered was practically off the metronome it was so fast.  The routine went on and on in one continuous, devilish whirlwind of pianistic madness.  I got knots in my stomach every time one of my studio mates performed it in studio class.  That's right.  Her students were expected to perform it in front of the entire studio.


Now don't get me wrong, I don't necessarily see anything bad about this requirement.  I just didn't have the nerve to do it myself and it didn't help that I had always been told that I had good technique naturally. "Why bother?" I asked myself.

Of course this stealthy move of mine so many years ago regularly comes back to haunt me.  It also makes me ponder how it is that I can have good technique even though I've never focused on it.  I'm not exactly sure of the answer but I do have some thoughts that were reignited after watching a short clip of Leon Fleisher that Graham Fitch had posted on his Facebook page the other day.  It is just over a minute long and really needs to be watched!

Here is my transcription of what he said...please forgive any inaccuracies.  I think it's so good it needs to be in writing too.
“I think technique is the ability to produce what you want.  The presupposition is that you want something.  So before going to the piano and practicing, training your muscles which is a waste of time because it's not in the muscles - it’s in the brain, it’s in the inner ear.  You have to hear, Schnabel used to say it all the time, you have to hear before you play.  If you play before you hear what you’re going for, it’s an accident and then everything is built then on an accident.   So want something, hear it…go for and experiment, do outrageous things.  You know, when you’re in the privacy of your studio, what a luxury.  No metronome police, nothing.  You can try whatever you want. So experiment."
So many great thoughts in a very short amount of time.  Right now I want to focus on one little phrase - "training your muscles which is a waste of time because it's not in the muscles - it's in the brain, it's in the inner ear."  I'm not just trying to make pathetic excuses for my lack of bravery or my laziness by pointing this out - I truly believe what Fleisher is getting at here.  At least in my own experience, if I have the music clearly in my head, if I've determined exactly what I want from a particular passage, even a technically demanding one, there is very little I have to do at the piano to make it work right.  Yes, I need to make sure I have good fingerings, which can largely be figured out away from the piano but paired with a complete understanding of each and every note and rhythm, accompanied by an internalization of what the music means to me, that's all I need along with a handful of repetitions.  A handful!  Not 100 like I've heard some people use as a benchmark for thorough practice.  If that was my expectation, I would have quit music ages ago!  

Some people might respond to my last paragraph saying, "Yeah, but that's you!  You said it yourself, you've always had good technique!"

Right.  But maybe I've always had good technique because I have always had a very good inner ear that guides my hands - I don't let my body get in the way.  I have worked with so many students that don't appear to have a natural technique yet when I guide them through a process of audiating difficult passages in isolation and then encourage them to stop trying to physically control what they are doing at their instrument, they are amazed at how quickly all their problems are cleared up.  They feel like it should be harder to fix.  A few minutes of intense brain and ear work, which is usually a completely new experience for them, can make hours of repetitive practice and frustration obsolete.  My conclusion after witnessing this work countless times, is that our bodies are smarter than we often give them credit for.  Having a crisp, clear aural picture of what needs to happen is enough - the body can more often than not translate brilliantly what's in our heads and ears with far greater ease and accuracy.

With all this said, it makes me wonder if I should fess up to Nelita True and ask her if I can finally take her technique exam so that I can live the rest of my life without guilt.  If I do, maybe I'll test my hypothesis about mental learning and try preparing for it away from the piano. You never know, it may feel like a piece of cake that way!

Or maybe not.  Any votes on what I should do?  And Dr. True, feel free to chime in yourself!