(hosted by Christian Howes)
00:05:25 Christian: 5 week class - Essential mental skills for practice and performance to develop better relationship w/practice and performance- https://bulletproofmusician.com/essentials
00:13:30 Anne Marie ,: from Suzuki Community Strings, in Troy, New York
00:13:30 Verlene Schermer: Verlene from San Jose, California
00:13:31 Athina ,: Hello from Greece!
00:13:35 Malderine Birmingham: Hello! Portland, OR
00:13:40 Jim ,: Jim from Stuttgart, Germany
00:13:45 Sharon McCleave: Hello, Musicians! I’m in Ontario, Canada.
00:13:45 Steve ,: Hi everyone! Steve from East Hampton here. 🖐
00:13:45 Carol Wood: Hi from Vermont!
00:13:47 Deborah ,: Greetings from Boulder, Colorado
00:13:49 Suzanne: hello from Detroit
00:13:49 Keith ,: Greenville SC
00:13:49 Nancy Torrente: Hello from Cape Cod, MA
00:13:50 Michelle Wiens: Michelle from Boise, ID
00:13:50 Valerie boser ,: Hi from rainy Vancouver Canada
00:13:51 Loren ,: Toronto
00:13:51 Christina Simpson: Greetings from Nashville!
00:13:51 Susan Di Biase: Happy New Year from sunny Alabama!
00:13:52 Mary ,: Hello from Montana
00:13:52 Ina-Maria ,: Hi from Somerset, UK
00:13:53 Catherine ,: From the beach in Byron Australia
00:13:54 Jasmine ,: Hello from New York
00:13:55 pete: Hello from San Clemente!
00:13:55 Martha Kreipke: From St. Louis, MO
00:13:55 Corinna: Hej from Denmark !
00:13:56 Alina: Hi from Dublin,Ireland
00:13:57 Erika Venable: Hello from Florida
00:13:57 Ingrid Lindsay: Invercargill South Island New Zealand
00:13:57 Katarzyna Czubek: Hello! Kraków, Poland
00:13:58 Deborah Greenblatt: From Deborah Greenblatt in Nebraska!
00:14:02 Montana Paul: Hi! I'm Montana from Noblesville Indiana
00:14:02 Jennifer Watt: Jennifer from Houston, TX
00:14:02 Kim ,: Hello from Johnson City, TN!
00:14:02 Lisa ,: Hi from Richmond, VA
00:14:03 Kelly Bohan: Hello from Michigan!
00:14:04 Richard ,: Hi from New Orleans
00:14:05 Stephen Crawford (he/him): Howdy from Houston, TX!
00:14:08 Mariana ,: Hi, from Costa Rica
00:14:11 Cathy Whitty: Hi from Carp, ON, Canada
00:14:12 Carl Serbell: hello from Dauphin PA
00:14:13 marian Droba ,: Hi From Wellington, NZ
00:14:16 Christopher ,: Dallas, Texas
00:14:17 Shel ,: Hi, Shel from Embudo NM
00:14:18 Moriah: Hi from Providence’s Rhode Island
00:14:19 Elizabeth ,: Hello from the UK
00:14:19 Morgan John: Morgan from Seattle WA
00:14:19 Diane Ludwig: Hello from Birmingham, UK!
00:14:20 Kate ,: Hello from Oberlin!
00:14:27 KATE HUNT: Hi from Kate in Italy
00:14:27 Helen ,: Helen from Toronto, Ontario, Canada
00:14:29 Bob ,: Howdy from Tennessee!
00:14:41 PATRICK ,: Patrick from British Columbia Canada
00:14:53 Jim: Hi from The Netherlands!
00:14:56 Carol Sims: Carol from Lindsay Ontario
00:14:58 Austin ,: Hey Everyone! Austin from CT
00:15:03 Deborah Henderson: Hello from southern Ontario!
00:15:18 Lisa: Hi everyone, from Sweden! 🙂
00:15:19 Vivienne ,: Hi from UK
00:15:20 Ragnhild ,: Hello from Montreal!
00:15:23 Emily Calhoun: Hi from Savannah!
00:15:24 Pam Fitzgerald: Hello from Bancroft, ON
00:15:27 Karen Thomson: Hi everyone & Happy New Year! From Karen in England
00:15:28 Alice: Hello 🙂 Austin, TX
00:15:36 Rob ,: Rob from Mercer Island, WA
00:15:37 Charlene ,: Hello from Upstate New York
00:15:52 Jasmine: What instruments do you all play? I'm a flutist/flautist.
00:16:06 Josephine ,: Hi all. Nairobi, Kenya
00:16:07 Linda Ryall: Hi from uk
00:16:13 Christopher ,: Contra Bass
00:16:13 Montana Paul: I'm a harpist
00:16:15 Diane Lipartito: Hi from Holyoke, Massachusetts! Bassoonist.
00:16:22 Thomas ,: Hello and Happy New Year from Athens, Georgia. Tom
00:16:23 June Crosby: Hello everyone from Salt Lake City
00:16:23 Athina ,: Pianist...
00:16:23 Michelle Wiens: Piano!
00:16:27 Lesl Harker: hello from Lesl (Mery)!
00:16:27 Jennifer Watt: piano
00:16:33 Carol Wood: Harp
00:16:36 Alyson Elliman: from UK - all sizes of recorders from sopranino to contrabass
00:16:40 June Crosby: fiddle
00:16:43 Sharon McCleave: I’m a multi-instrumentalist. I’ve got my hurdy-gurdy with me now!
00:16:56 Carol Sims: Fiddle
00:16:57 Charlene ,: iddle
00:17:02 Jim ,: Piano and violin
00:17:06 Verlene Schermer: Harp, violin, guitar, nyckelharpa, hardingfele, tenor banjo, piano, among other strings, plus concertino.
00:17:08 Fran ,: Fran from Kingston Ontario, piano
00:17:09 Lynne Lederman: In Mamaroneck NY (which some people think is upstate but is not) play piano, guitar, autoharp, organ, dulcimer; formerly clarinet and flute
00:17:11 EDWARD KITLOWSKI: Ed Kitlowski Baltimore, MD bagpiper
00:17:14 Kelly Bohan: Piano
00:17:28 Susan Di Biase: cello
00:17:37 Mark Wingate: Brevard, NC, US -- fiddle
00:17:47 Jasmine: Cool 😎
00:17:56 Wayne Fugate: Warwick, NY … Mandolin! The little instrument that could!
00:18:08 linda Miner: handbells, piano, uke
00:18:22 Austin ,: Hey Wayne!
00:18:24 Helen ,: oboe, voice
00:18:36 Katarzyna Czubek: recorders and historical oboes
00:18:48 Sharon: Organist
00:18:50 Stephen Crawford (he/him): Trombone
00:18:54 Wayne Fugate: Hi Austin!
00:19:11 Margaret Norwood: piano
00:19:12 Jenny ,: Jenny Peters from Highland Park, IL - piano, violin, viola, ukulele, orchestra
00:19:19 Alexey Kurkdjian: Hi everyone, I´m in São Paulo, Brazil!
00:19:32 Deborah Marshall: Clarinet
00:20:03 Martha Kreipke: Classical Guitar
00:20:32 Erin ,: Erin Burns, Saranac Lake, NY, fiddle
00:20:44 Mary-Marie: Hi everyone… Marie-Marie here. I’m in NE Ohio kind of near where Noa grew up.
00:20:48 Alexey Kurkdjian: Violin, Electric and Acoustic Guitar/Composer/Conductor
00:21:14 Montana Paul: I also play guitar but mostly harp
00:21:26 Karen Thomson: Piano, cello & French Horn
00:21:46 Lisa ,: Piano, violin, voice
00:21:54 Mary-Marie: I play piano, pipe organ, and jazz vibraphone.
00:23:13 Joanna L.: Cello
00:26:10 Jennifer Watt: I keep track my practice hours but I tend to focus on the absolute accuracy practice. Note that to reach 10,000 hours it will take 13.7 years if I practice 2 hours a day. It will take 10 years if I practice 2.74 hours a day.
00:28:13 Alan: yes it is true
00:29:08 Montana Paul: Do you all have advice on how to track your practice? I've tried many different ways but I haven't found one I liked.
00:30:11 Karen ,: Modacity App
00:30:49 Jennifer Watt: I use Modacity app everyday.
00:31:17 Suzette Sommerer: Sound and picture don’t match up well on my system (bandwidth issues), so the exercise is confusing to watch, but I get the idea.
00:32:41 Erin ,: tone quality
00:32:43 Christian ,: My 3rd finger was slow to move from low on D string to high on G string
00:32:43 Helen ,: jump from high a to high e is not fluid
00:32:45 Alyson Elliman: Didn't like sound of my double tonguing on recorder. CChanged the syllables, then a bit better
00:32:46 Mary ,: bowings are not memorized
00:32:53 Verlene Schermer: Double stops are sometimes out of tune when both fingers are used, and the bow is not always equal on both strings.
00:32:56 Lisa ,: So I didn't hear the balance I wanted consistently - one chord stood out more than it should have - and I also didn't hear the bell-like top note of each chord like i wanted to hear it
00:32:57 Lesl Harker: I'm trying to remember a variation I want to use in a reel I'm working on. I keep forgetting either the lead up or the next note.
00:32:59 Annie ,: tone quality when crossing strings
00:33:04 Nicole McKenzie: In triple stop pizz E is slightly sharp
00:33:06 Carol Wood: tone quality, rythm
00:33:09 Thomas ,: Left hand causing squeaks (classical guitar).
00:33:10 Joanna L.: left hand articultion...
00:33:16 Harry ,: Articulation of bow is not precise
00:33:17 Steven ,: Notes lacked clarity of tone and distinction from one another
00:33:17 Shel ,: I’ve played this section over and over, yet my fingers still don’t go there smoothly and it sounds tentative
00:33:18 Michelle Wiens: Rhythm not steady, looking for notes, fingering not consistent, not confident
00:33:18 Sharon McCleave: Right hand on hurdy gurdy not always coordinated with left.
00:33:18 Mary-Marie: Too much sustain. Individual notes not clear. And not absolutely sure of my sticking… makes for mistakes
00:33:20 Corinna: Change between strings
00:33:20 Jim ,: My tone quality isn't consistent
00:33:24 Karen Thomson: Not happy with the interaction of the fingers between the two hands at the end of each bar.
00:33:26 Elizabeth ,: Much easier when it’s not the play through and no-one is listening except me
00:33:27 Moriah: Inconsistent rhythm
00:33:27 Christopher ,: Beginning of notes
00:33:27 Jennifer Watt: Tone quality
00:33:29 Cathy Whitty: length of 8th notes
00:33:31 Carl Serbell: inconsistent attack and release on notes
00:33:32 Andres Garcia: Tone quality.
00:33:33 Vivienne ,: speed not right, stop and correct, if I dont quite like it instead of carrying on
00:33:37 Richard ,: I’m learning a tune called “hot house”. It’s very chromatic. Intonation is an issue. I need better fingerings
00:33:38 Mariana ,: first chord, intontion at the end, sound quality
00:33:40 Anne Marie Haber: uneven tone with doublestops at frog
00:33:43 Jasmine: dynamics
00:33:43 Ingrid Lindsay: Finger 4 to 3 on D string at end of phrase sounded uncoordinated and therefore rough. A-G.
00:33:44 Kelly Bohan: Left arm is tight, making accents where i don’t want them. i think I am pushing my elbow down to the left
00:33:46 Sharon: Lost legato during the difficult fingering shift
00:33:48 Jaime johnson ,: I don't like how my 6ths are out of tune when I change strings
00:33:49 PATRICK ,: Too scratchy on bow change
00:33:51 Carol Sims: Would like to use vibrato more and dynamics to give it some variations
00:33:51 Michael ,: Left hand gets rushed too much when my right hand speeds up
00:33:52 Stephen Crawford (he/him): Slide movement was sloppy in several notes, especially when positions are far apart
00:33:52 ray gornik: im on piano, 1st note is different starting with a new finger
00:34:17 Diane Lipartito: Going from a fast 4 note 16th note pattern to a triple touging sextuplett. Still can't get the 6 notes clear and accurate.
00:34:17 Susan Di Biase: vibrato isn't continuous over bow change. I'm thinking about something that is interrupting my singing flow
00:34:17 Thomas ,: Intonation tends to be sharp.
00:34:22 Keith ,: noise - touching a neighboring string, scratching, bouncing, ...
00:34:22 Meredith Bocek ,: Coordination of the hands at the transition.
00:34:26 Deborah Price: Tone is thin, intonation of the flats , 4th finger, coordination bow with fingers
00:34:38 Ingrid Lindsay: That is hard to diagnose the problem.
00:34:48 Deborah Henderson: shift from 3rd to 6th position was not consistently in tune
00:35:08 Meredith Bocek ,: Did not know the top note of the left hand
00:35:39 DAVID ,: my C# (on the G string) is played very in tune w/my 3rd finger but not as in tune w/my 4th finger - especially while playing a fast passage - I think this is because I tend to flatten the 4th finger out using the fingerpad instead of the fingertip - possibly I don’t bring my elbow around fast enough to use the tip
00:35:41 Nicole McKenzie: Fingertip placement is too far forward on the finger
00:35:43 SHANNON JANNSEN: Need to move hands earlier to avoid unintentional micropauses
00:35:43 Lisa ,: the cause was discomfort with the new fingering i worked out the other day
00:35:52 Anne Marie Haber: At frog, unnecessary shoulder muscles are engaged.
00:35:53 Michelle Wiens: Left hand fingers too tight
00:35:55 Deborah Price: Primary. Abuse, not hearing/singing the notes before playing
00:36:03 Elizabeth ,: Inconsistent finger placement
00:36:06 Lesl Harker: I didn't zoom in my focus right at the start of the segment so forgot to play the B before the G.
00:36:06 Mary-Marie: Gross pressure not titrated
00:36:07 Thomas ,: Tension on 4th finger causes squeak when I lift it,
00:36:09 Suzanne: 4th finger of LH not lifting in sync with RH
00:36:13 Ingrid Lindsay: There is a string crossing and a legato involved.
00:36:16 Alyson Elliman: NOt keeping breathe coming through the tonguing changes
00:36:17 Sharon: Lifted more fingers than intended as the shifting cascaded
00:36:18 Jim ,: Going from an open string to a fingered one causes unevenness
00:36:19 Diane Lipartito: Left hand thumb not getting into postion fast enough to snip the upper notes. Confusion of where it should be.
00:36:29 Sharon McCleave: Hm. I’m turning my cranking hand in 4/4 time, when the tune is in 3/4. Yikes!
00:36:35 Joanna L.: 3 note on string crossing and 2 last note or not clear.
00:36:47 Kelly Bohan: Tightness caused by elbow locked in place
00:36:56 Meredith Bocek ,: Need to memorize to know the notes
00:36:57 Andres Garcia: The pressure of my bow
00:37:00 Verlene Schermer: The interval middle c up to a with fourth finger is out of tune, and it appears that it's the fourth finger not getting around to the D string. Possibly the elbow not around far enough.
00:37:14 Deborah Price: Sing notes, listen via piano first
00:37:16 Sharon: It's a slow note, I have time to change fingers one at a time
00:37:17 Michelle Wiens: Work on wrist rolling rather than hitting each note w/ specific fingers
00:37:18 Jenny ,: Double stops not in tune. I’m not playing on my fingertips enough.
00:37:19 Malderine Birmingham: Not using the right finger lol
00:37:37 Jennie ,: Need to start air before I play first note because the sound comes too late and weak
00:37:38 Thomas ,: elbow more in
00:37:40 Jenny ,: Play more on the fingertips. Bring the left hand elbow under more.
00:37:41 Andres Garcia: I could put less pressure on to my bow
00:37:42 Vivienne ,: never done any chaining this, a;lways played it slowly, could put it in chunks and practise them to speed then chain them up,
00:37:44 Jennifer Watt: tension
00:37:45 CHeryl ,: Baking analogy was very helpful in thinking of cause/solution.
00:37:48 Christian ,: Bring left elbow in for high 3rd finger on g string
00:37:48 ray gornik: Interval returning to bottom of scale hand position out.
00:37:52 Sharon McCleave: Practise right hand cranking in 3/4. This requires I crank a bit quicker.
00:37:52 Carol Sims: Relax my fingers more, especially thumb
00:37:54 PATRICK ,: Try grip on bow
00:37:54 Malderine Birmingham: Remember that that finger is the most important for the run rather than mindlessly letting any finger do it
00:37:54 Anne Marie Haber: Envision "release" of the shoulder. Let gravity "be my friend."
00:37:56 Corinna: Move elbow earlier
00:37:57 Michael ,: Be more aware of the left hand physically and musically
00:37:58 Annie ,: need to focus on the action of dropping and lifting fingers
00:38:00 Lesl Harker: find where to begin laser focus in the segment- which note.
00:38:01 Meredith Bocek ,: improved
00:38:03 Verlene Schermer: Solves it!
00:38:06 Deborah Henderson: change thumb position sooner with upward scroll motion
00:38:06 Elizabeth ,: Decide, write in and execute consistent finger placement
00:38:14 Karen Thomson: Piano. Being aware of when my RH should stop in each arpeggio so that my LH can be heard clearly (which has the tune)
00:38:18 Jaime johnson ,: I thought I wasn't shifting up high enough, however, reaching my 3rd finger further was a better solution
00:38:19 Carol Wood: full-length finger strokes, arms more relaxed
00:38:28 Christian ,: It helped! Seems like a huge benefit of just being specific and giving focused attention to specific small art of problems
00:38:30 Ingrid Lindsay: Figure out if R arm is in correct position is correct to play in D string - in terms of fast finger 4 (pinkie) release hard as Im a late starter violin player so don’t have the dexterity of those who start younger…
00:38:32 ray gornik: Solution: don't reach, move hand to new starting position.
00:38:32 Cathy Whitty: play rt hand separately and think about length of 8th notes
00:38:33 Nicole McKenzie: Yes, solved it
00:38:38 Anne Marie Haber: yes, it worked
00:38:39 Michelle Wiens: Yes, helpful….but only w/ left hand playing. When right hand comes in…ughhhh!!
00:38:42 Joanna L.: accent on cross strong and not rusching last two notes...
00:38:42 Carol Wood: Really helped
00:38:46 Thomas ,: yes
00:38:58 Sharon McCleave: Oh. Wow. Super.
00:39:00 Sharon: Helped, but then I sliced adjacent key. Changing the position of the hand and fingers helps that
00:39:00 Andres Garcia: yes
00:39:04 Kelly Bohan: Starting in a natural elbow position instead of anticipating next position after shift helped significantly
00:39:08 Jenny ,: It was better. I also relaxed my left hand fingertips so I could adjust super quickly to play in tune.
00:39:12 Jasmine: Keep embouchure steady, not tight. Push jaw out if necessary. stronger diaphragm support
00:39:16 Karen Thomson: Yes. Much better.
00:39:25 Susan Di Biase: Think of phrase as a unit and keep vibrato moving as if it is a breath or sung passage
00:39:27 Cathy Whitty: better this time
00:39:27 Diane Lipartito: I think it is mental. Not thinking ahead of what I need to do quickly enough.
00:39:31 Ingrid Lindsay: Am I in the correct part of the bow for the string crossing.
00:39:48 Vivienne ,: closer just recognising problem, chunking helped (piano)
00:39:58 Christian ,: me
00:39:59 Ingrid Lindsay: Yes YES
00:40:01 Jenny ,: Yes
00:40:16 Montana Paul: Defiantly
00:41:14 Deborah Price: Determine the intervals as well as sing/solfège. It’s a challenging little solo in a glazunov concerto for sax. Gbs, etc., high treble clef on viola, totally exposed conversational duo section for a few measures
00:41:25 Cathy Whitty: an erASER
00:41:27 Malderine Birmingham: its gizmo
00:41:31 marian Droba ,: Virgin of Guadaloupe candle
00:41:33 Annie ,: mogwai
00:41:35 ray gornik: its a dinosaur
00:41:37 Shannon Wettstein Sadler: My dog
00:41:39 Verlene Schermer: tie die ty bear
00:41:43 Montana Paul: I found a battery operated candle
00:41:49 Jaime johnson ,: wooden rock
00:41:50 Jenny ,: My can
00:41:53 Jenny ,: My cat
00:41:54 Diane Lipartito: I have a little St. Cecilia icon
00:41:55 Christian ,: Noa’s upcoming essentials Class Info here FYI: 5 week class Essential Skills for practice and Performance to develop better relationship w practice and performance- https://bulletproofmusician.com/essentials
00:42:16 DAVID ,: Walter Sobchak from The Big Lebowski - sans aviators
00:42:24 Diane Lipartito: I also have a devil ducky if things get really bad.
00:43:52 Jennifer Watt: I totally get it. There is a similarity between coding and practicing.
00:45:22 Carl Serbell: its more fun
00:45:25 Vivienne ,: Couldnt talk and play!
00:45:29 Naomi McCormack: It made me much more specific
00:45:30 Annie ,: more joy in the process
00:45:33 Lisa ,: I actually came up with an entirely different solution!
00:45:34 Jim ,: I noticed new things I could work on
00:45:37 SHANNON JANNSEN: More impartial and less critical when talking in the 3rd person
00:45:37 Nancy Torrente: Very much coming out of my own critical voice- more a coach
00:45:37 Erin ,: My practice buddy was giving me positive feedback and making me smile.
00:45:38 Alyson Elliman: Made me analyse more exactly what I was doing.
00:45:39 Iolo Huw Jones: Articulating it helps to make the problem clearer.
00:45:41 Michelle Wiens: I like it! It took pressure off of me…put it onto 3rd person. Interesting!
00:45:41 Verlene Schermer: I thought of a second solution, tried it out but both me and my bear thought the other solution was better.
00:45:43 Lisa: I analyse much better
00:45:43 Diane Lipartito: I felt a little weight off of my shoulders.
00:45:43 T: Felt less ‘personal’
00:45:44 Michael ,: More inquisitive, felt like I needed to explain more and found an issue
00:45:45 Kim ,: Mentally prepared for the spot sooner
00:45:45 Mary-Marie: Sort of more objective
00:45:46 Lesl Harker: I noticed that my focus was changing in the wrong times! I redid it and it came out right.
00:45:46 Esther ,: I am more focused on what I should do
00:45:47 Cathy Whitty: I could focus on the problem
00:45:49 Wayne Fugate: no judgement! hahaha
00:45:51 Andres Garcia: It provided a lot more factors that could help find a solution
00:45:53 Susan ,: Identified problem and solution. Thx
00:45:54 Sharon McCleave: First and foremost, I felt as though I was an ally for myself, rather than my judge.
00:45:55 Katarzyna Czubek: more focused
00:45:56 EDWARD KITLOWSKI: More specific solution and less critical
00:46:00 Jenny ,: It was fun to talk to my cat about what Jenny did well and did not.
00:46:03 Jaime johnson ,: I tried the two solutions I thought were the root of the problem but then I realized it could be something else and it was an even better solution
00:46:05 Deborah Greenblatt: I found I was apologizing to my American Goldfinch, but promised to improve…
00:46:06 Malderine Birmingham: Gizmo told me to get the sheet music to help be more specific lol
00:46:13 Carol Sims: It’s more like just sharing your insight, not judgemental
00:46:15 Nancy Torrente: Feels more -out of my own head
00:46:16 Montana Paul: Didn't get a chance to talk to my "buddy" because I was playing but I like the idea
00:46:17 Deborah Price: Mainly, channeled my teacher self, how I would guide or coach my student
00:46:18 Loren ,: made me more concious of the issue, and making myself think before playing helped me get the correct next note in the sequence
00:46:18 DAVID ,: I tend to always talk out loud to myself to correct problems or laud myself and my wife thinks I’m crazy - now talking to a toy she’ll think I’ve gone off the deep end
00:46:21 Susan Di Biase: It's funny and so I feel less frustrated. Keeps the problem solving lighthearted. Also...helps me imagine that my future audience is friendly and wants me to do well--like Teddy!
00:46:23 Mariana ,: at first it was difficult to talk in third person. Then I could do it and it worked better.
00:46:23 Karen Thomson: Feels more encouraging …more like teacher talking to pupil
00:46:25 Paul Kenyon: I started hearing more in the moment, rather than glued to rear-view mirror
00:46:26 Valerie boser ,: Feels like I'm really making the change so that I can notice it to comment on it.
00:46:32 Diane Lipartito: I came up with another idea of what was wrong bc I wasn't talking to myself but about myself to someone else.
00:46:33 Belinda ,: talk to myself like a kind teacher
00:46:35 Ingrid Lindsay: It allowed me to identify different things that caused the issue. It also allowed me to actually begin to solve the problem. It did not allow the Joker to get in on the act. Loved your visual image of self critic.
00:47:01 Thomas ,: Enjoyable and more relaxed. The note before my usual sharp note was flat. I talked it out with my partner and the next try was good.
00:47:16 Diane Lipartito: Totally agree with the prac buddy audition.
00:47:35 Carol Sims: I’m loving Elmo!
00:47:37 Nicole McKenzie: How old do you think a kid has to be in order to do this type of work?
00:47:56 Suzette Sommerer: Will have to see which of my many stuffed animals have sufficient insight without being overly critical.
00:47:58 Susan Di Biase: 3
00:48:24 Sharon McCleave: I agree about auditioning the practise buddy. I think I can find a good Squishmallow with a good karma. ☺️
00:48:37 Jaime johnson ,: 😀like your comment Suzanne
00:48:38 Esther ,: Would this strategy apply to composing music as well?
00:48:48 Jasmine: I have a small stuffed squirrel from my big sis. I also have a stuffed koala from myself. I think my squirrel wants more company.
00:48:54 Karen Thomson: Think I may need to ‘borrow’ one of my little dog’s teddy bears. Hope she doesn’t notice!!
00:48:58 Richard ,: I get this method for technical issues. What if the problem is that “my improv doesn’t sound inspired.” Or is that an issue of not being specific enough in identifying the problem?
00:48:58 ray gornik: for me improv comes from really knowing something concrete that I've learned before
00:49:04 Anne Marie Haber: practice buddy is very helpful.... I can tell already! Collaborative, kind. Catalytic to solution-oriented thinking and feeling
00:49:17 Diane Lipartito: Yeah, LOL Suzanne
00:49:46 Deborah Price: Inner game has been part of my practice and teaching since the 80s. Thankfully I don’t experience the negativity self-talk. I’m realizing that it’s much about applying the same dedicated time to accomplishing what I ask my students to engage in themselves.
00:49:48 Natalie Bontumasi: I like that seeing the practice buddy could be a visual reminder to be specific.
00:50:02 Jennifer Watt: Practice small segment.
00:50:20 Montana Paul: Negative self talk is defiantly more harm than good
00:50:53 Deborah Price: Performance Practice is so important and sometimes illusive especially for teaching at college and prep levels of competition
00:51:59 Vivienne ,: yes
00:52:00 ray gornik: yes
00:54:36 Helen ,: Over the pandemic, I borrowed Noe's ideas and chose a different 90 second piece each day, did my warm up in my studio, then took my music stand onto my driveway and performed my 90 seconds, then back to whatever else for the day. Have noticed big improvements in my actual performances.
00:58:03 Suzette Sommerer: Love that idea for a way to get in frequent performance!
00:58:41 Sharon McCleave: Super, Helen!
00:59:00 Steven ,: Much better
00:59:07 Jenny ,: Much better!
01:00:43 Ingrid Lindsay: Its like having an x-ray - its just a measure of where you are. Haha - I need to work on that philosophy with Rubby Ducky...
01:01:14 Ingrid Lindsay: Ie record then practice. Im allergic to recording just for the record....
01:02:06 Annie ,: Thank you so much, I have to leave. How do we view the recording?
01:02:25 ray gornik: some
01:02:26 Ingrid Lindsay: I learned a lot.
01:02:49 ray gornik: les by time
01:02:56 Vivienne ,: less comfortab;e
01:03:00 Steven ,: Better with separation. More focused.
01:03:01 Valerie boser ,: less comfortable
01:03:05 Sharon McCleave: Exactly.
01:03:11 Diane Lipartito: I felt better with the separtion
01:03:19 Joanna L.: I felt beter after 3 rep piece B
01:03:23 Verlene Schermer: more improvement on the separated repetitions.
01:04:04 Karen Thomson: Felt better with the separation. Maybe because I was possibly still thinking about it in between!
01:04:19 Diane Lipartito: I felt like my brain was mulling over the thing I noticed that didn't go right and was better able to correct it with the separated practice.
01:04:37 Jennifer Watt: Is distributed practice similar to interleaved practice?
01:04:42 ray gornik: with the distributed approach is it ok to review the music without playing it in-between practices?
01:05:10 Michelle Wiens: How much time should we allocated to Distributed Practice? 05min per section? 10min per section? 00 time per section?
01:05:44 Christopher ,: I tell my students, ‘it’s not how long you practice, it’s how often you practice’.
It’s the frequency.
01:05:46 Diane Lipartito: I tend to do this interleaved type of thing in other areas of my life. I always accomplish more.
01:06:51 Christian ,: Noa’s upcoming essentials Class Info here FYI: 5 week class Essential Skills for practice and Performance to develop better relationship w practice and performance- https://bulletproofmusician.com/essentials
01:07:19 Thulane ,: When will the replay be available?
01:07:45 Nancy Torrente: I want to do it again! It was music-life changing for me- thanks Noa.
01:07:52 Lindsay: I signed up for the last course but didn't manage to attend any live and didn't fully catch up. I would love to try again this time.
01:08:14 Athina ,: Thank you so much for sharing such valuable knowledge...
01:08:16 Jasmine: Thanks so much Noa!
01:08:22 Stephen Crawford (he/him): Excellent class, I highly recommend it. I used what I learned with my students. It’s so much better than random YouTube videos, even good ones.
01:08:45 Karen Thomson: Thanks you so very much. Really helpful presentation.
01:08:54 Malderine Birmingham: THANK YOU so much for sharing so much on your website! I heard you on a podcast and you have set me on a wonderful new better path! THANK YOU!
01:09:00 Christian ,: Noa’s upcoming essentials Class Info here FYI: 5 week class Essential Skills for practice and Performance to develop better relationship w practice and performance- https://bulletproofmusician.com/essentials
01:09:39 Thulane ,: Yes, could you please clarify the difference between performance practise, and practise, practise.
01:09:51 Michael ,: Is there research on why performance seems to be the best “practice”? A good performance seems to really solidify a piece for me. Maybe intensity has a part to do with it?
01:09:59 Kelly Bohan: When doing interleaved practice, how many repetitions is ideal for each segment you’re working on?
01:10:02 Loren ,: Practicing for performance is different to practicing for what? (Sorry the slide changed quickly)
01:10:12 Thulane ,: Love the newsletter BTW, it’s awesome.
01:10:15 Esther ,: Just curious how does this strategy apply to composers/composing music, especially with the interleaved practice
01:10:18 SARAH ,: Thank you so much! This was SO great! I’m super inspired! And I learned about interleaved practice from you a while ago and it has changed everything for me! THANK YOU!!
01:10:33 Lindsay: Noa's newsletter is always so interesting!
01:10:37 Valerie boser ,: Do you recommend setting aside two chunks of time - one for skill development and another for performance practice?
01:10:40 Elizabeth ,: Thank you. Choir practice now calling.
01:10:51 Carol Wood: Sp sorry I have to leave. This was super, and I can see how the live class is going to be fantastic! THANK YOU!
01:10:52 Susan ,: Thanks Noa. You are always so helpful!
01:11:22 Reilly F: Thank you, this was great!
01:11:32 Athina ,: Are there any books you would recommend regarding the development of strategies for performance practice?
01:11:41 Montana Paul: I'm a college student who isn't studying music in college but would like to play on the side. Any tips about finding time to practice, or about how to come back to playing an instrument after not playing it for a long time?
01:11:42 Thulane ,: Could you clarify the difference between performance practise, and skill practise?
01:11:43 Mary-Marie: Totally!
01:11:58 Jim ,: The incubation phase of the creative process breaks patterns and allows your subconscious to do some work and perhaps find solutions.
01:12:09 Esther ,: That’s interesting. Thank you for the answer Chris and Noa!
01:12:13 Montana Paul: Also, how do you figure out how long you need to practice?
01:12:22 KATE HUNT: THANKS FOR THE INTERESTING AND USEFUL INSIGHTS. HAPPY 2023!!!
01:12:50 Karen Thomson: Thank you again. I have to leave now. Goodbye everyone!
01:12:51 Deborah Price: Thanks so much! So great to see how inspiring you both, Noa and Chris, have grown to such great coaches for others. So many memories from when you were both at Jefferson studying/playing chamber music as high schoolers - it was my first formal experience coaching and directing a chamber music program. Amazing to have that glimpse and now decades later seeing the expertise and inspiration you’re both sharing colleagues and youth. Thanks again!
01:13:01 Mary ,: I wonder why that “cold start" practice improves the performance? Is it just trying the "cold start" repetitively - I would think that might just lead to repeated failures. Or do people practice differently between the “cold starts” as a result of evaluating those tries and that effects the better performance?
01:13:08 DAVID ,: I almost said that Christian
01:13:37 Michelle Wiens: Great question, Mary!
01:13:56 Esther ,: Yes it was very helpful thanknyou!
01:14:27 Bruce: Is there an optimal number of pieces to interleave in order to make the interleaved practice strategy most effective?
01:14:28 Nancy Torrente: Thank you Noa- Looking forward to the class again!
01:14:34 Sharon McCleave: Oh, wow… as a new improvisor, I found your “composition” practise hints useful, Chris. Thank you!
01:14:47 Michelle Wiens: Thanks Noa! This was GREAT!!!
01:15:13 Jennifer Watt: What role sleep plays in practice and improvement?
01:15:23 Ingrid Lindsay: Thank you Noa and Chris. Thank you.
01:16:08 Ayako ,: Thank you Noa and Chris
01:16:47 Moriah: Thank you both for sharing your knowledge and expertise. Looking forward to a class with one or both of you in the future.
01:16:50 Steve ,: First, thanks for clarifying Deliberate Practice and Performance Practice (in particular Distributed Practice). My tip is to copy just the tricky measures on its own page, and then go to the piano with a stack of tricky passages, and then page through them - instant distributed practice.
01:17:04 DAVID ,: Noa and Christian - thank you soooo much, amazing!
01:17:19 Steve ,: For future topics, would be glad to get any ideas to help speed up memorization. 🙂
01:17:29 ray gornik: maybe try to get them to revert a bit to them talking to their first teddy bear
01:17:52 Debi ,: Thank you Nao and Christian... always so helpful!!!
01:18:28 Deborah Henderson: Thank you so much, Noa! There’s so much here I can use with my students. The description aspect is definitely going to be an uphill battle with younger students, but the rewards are there. Love the Record first, THEN practice!
01:19:05 Lisa: Thank you so much for all of this!
01:19:25 Christian ,: Hi Debbie!!!!🙂
01:21:05 Christian ,: Get on waitlist for Noa’s upcoming essentials class: develop better relationship w/practice and performance- https://bulletproofmusician.com/essentials
01:21:31 Vivienne ,: How do we pull all these skills and concepts intoone practice seesion with 3 pieces a different stages, excercises, scales, old pieces etc. what doe that look like?
01:22:02 Thulane ,: Thank-you Noa.
01:28:17 Walter George ,: Funny story as example of free throw shooting example .One grad student at UC Berkeley said he knew a Russian student whose computer programs always worked the first time. The reason was this student in Russian lived in Siberia and the computer they used was 10 miles away and they ran the student programs in the middle of the night; if his program failed, it clogged the computer and he would have to walk in the freezing cold 10 mi to clear the computer. He did not have to do this more than once to make sure his programs were written right. They said his programs were not very creative but still worked on the first try. An example of getting it right 1st time and costs ( ? less creativity).
01:30:26 Kelly Bohan: Thank you for the super helpful content!!
01:31:10 Mark Wingate: Thanks to all.
01:31:34 Diane Lipartito: Thanks so much!!
01:31:42 Malderine Birmingham: what is Chris's YouTube or website?
01:31:44 Mary ,: Thank you!
01:31:47 Joanna L.: Thank you so musch Noa!
01:31:52 Jim ,: Thanks to you all for the great meeting!
01:31:54 Eszter ,: Thank you!
01:31:55 Deborah Greenblatt: Thanks for the fun workshop!
01:31:56 Verlene Schermer: Thank you Noa and Christian. Great webinar!
01:31:57 Anne Marie Haber: Thank you, All!
01:32:02 Grace ,: Thank you!
01:32:05 ray gornik: Thanks
01:32:05 Kim ,: Thank you!
01:32:06 Sharon McCleave: My goodness. This session was wonderfully informative and inspirational. Thank you Noa and Chris!!!!
01:32:06 PATRICK ,: Thanks
01:32:08 Lindsay: thank you Noa!
01:32:08 Christian ,: Noa’s upcoming essentials Class: develop better relationship w practice and performance- https://bulletproofmusician.com/essentials
01:32:10 Shel ,: Thanks for a helpful class
01:32:15 Thomas ,: Thank you so much, Chris and Noa. Great session!
01:32:16 Belinda ,: thanks to All
01:32:17 Carol Sims: Thank you!
01:32:18 Linda Ryall: Thank you
01:32:20 Alexey Kurkdjian: Thank you Chris and Noa, I''m so grateful for this class!!! It helped a lot!
01:32:22 Susanna Cohen: thank you!
01:32:24 Mary-Marie: Thankyou Noa and Chris. Great session! Review but also new thoughts!!
01:32:27 Ingrid ,: Thank you very much!
01:32:28 Julie: Thank you !!
01:32:38 Diane Ludwig: Thank you!
01:32:49 Hemna ,: Thank you 💞
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