It's all important! Here's something about the visual/auditory/kinetic ways of representation: me I'm olfatory - put some bacon on in the kitchen and I'm focussed ;-)
http://en.wikipedia.org/wiki/Representational_systems_(NLP) There's a book called 'The Structure of Magic' which is where these NLP guys started it all.. Actually I think some teachers pretty much instinctively get inside their students' heads, and others never even try - that's the biggest difference between good and bad Robin On Tue, Jan 13, 2009 at 1:21 AM, Linda <[email protected]> wrote: > > Robin, we share this interest. I have never heard of suggestopedia > and find the ideas and practice very interesting. I agree the > emotional/physical thing has to be right to learn effectively. I do > find the setting I play in, important and it needs to feel pleasant > and comfortable, basically, I must feel at ease. I need to hear the > melody/rhythm in my head, to have the tune make any sense to me..to > try and play it. Some folks seem to be more visual (seeing the dots, > in one's mind, for example) to learn, others, more auditory..in that > hearing is important, and then others think more about the position of > their body (ie fingers in the case of mandolin and then sensations of > strumming, etc.) as they play and basically 'feel' it. I gather most > folks have one or two preferred senses they use most effectively when > learning. This seem to vary between individuals and it works best > when two of the favored senses are working at the same time or nearly > so, mine seems to be auditory and feeling for example. That plus a > clear goal works for me. > I think we adults generally already know how we learn from experience, > and that we use the techniques that work for us without really paying > attention to what they are, because it works. I have found though that > I have had to find new learning methods to be able to memorise tunes > and to be able to use picking techniques the tater shows me. It > involves both mental work and physical effort of using hands and > fingers at the same time. (A big ask for some, it seems to me). > Playing music is a complex skill. > > I have heard that a teacher can often spot the sensory preferences of > students by listening to what they say, ie visual students will often > say 'I see what you mean', in passing conversation, auditory students > will say ...'I hear what you are saying' and the feeling people will > say......something like 'I like the feel of this tune...etc.'. > > For me it requires a great deal of concentration and lots of > repetition to get a tune up to any kind of standard. > > I consider myself a determined slow learner. Fact is, I do learn > though, bad fingers and all. I find the Tater's methods of teaching > really work for me. I find there are lots of things to learn in a > given tune, if I am paying attention. There also seems to be good > chances for that circular learning as things tend to come up again and > again that I need work on and want to improve on. > > I find the auditory thing in the brain the most important, it has to > be embedded there correctly for me to play it, then next is ..the > feeling of the strings under the fingers combined with the strum. > Its great to talk about this, its been on my mind recently. I am very > interested to know what people do to learn to play an instrument. I > suppose for some its ...just easy and comes natural. Especially those > folks with hands that look more like big spiders and they have the > same flexibility as spider legs do, in those hands as well. > <G> > Linda > On Jan 13, 9:17 am, "Robin Gravina" <[email protected]> wrote: > > well there is a way of learning languages, called suggestopedia and > invented > > by a Bulgarian, which was extensively used behind the iron curtain before > it > > all fell: I have met a lot of Russians and other Eastern Europeans who > spoke > > superb English or Spanish due to the method. It consisted of making a > really > > pleasant space, with plants and comfy chairs and having the teacher read > > texts, first in your own language, then in the language to be learned - > all > > set to the rhythm of slow baroque music - I think it was something around > 60 > > bpm, but I may not remember well. Then there were games to reinforce the > > language input, and even some conventional exercises. > > > > Basically the idea was to remove the emotional barriers which stop people > > learning, and to make the experience as unthreatening as possible whilst > > creating good conditions for concentration and a flexible mind. There is > > also a carefully planned curriculum so that things come up again and > again > > in a sort of circular way. > > > > Not sure how that fits in here, I just thought I'd mention it! As a sort > of > > teacher I'm very interested in how people learn, and the > emotional/physical > > factor is for me one of the most important. > > > > Now, is that old time? > > Robin > > > > On Mon, Jan 12, 2009 at 9:42 PM, Linda <[email protected]> wrote: > > > > > Ah, yes, learning how to learn, what works a ...vast and interesting > > > topic. There are at least two physio therapists here in Hobart that > > > specialise in helping musicians with issues they have that are > > > generally down to bad posture and unhelpful positions when playing an > > > instrument. Then there is learning how to keep what is > > > learned...another area. Lately I have found that to keep tunes one > > > has learned they have to be played danged often, the more tunes one > > > knows then the more tunes one must play just to keep them. I suppose > > > after a good long while one just 'knows' the tunes and they are always > > > there when wanted. Thats my experience anyway. > > > Linda > > > > > On Jan 13, 3:35 am, Don Grieser <[email protected]> wrote: > > > > When I needed some physical therapy, the first thing he talked to me > > > about > > > > was posture. It's funny to hear Chris Thile talked about it, because > > > > whenever I've seen him play sitting down, he's all hunched over. > > > > > > On Mon, Jan 12, 2009 at 6:55 AM, Robin Gravina < > [email protected] > > > >wrote: > > > > > > > ah so that happens to you too!! > > > > > > > Robin > > > > > > > On Mon, Jan 12, 2009 at 2:53 PM, Don Christy < > [email protected] > > > >wrote: > > > > > > >> Yeah, this book had a ton of pictures and discussion of proper > sitting > > > and > > > > >> arrangement of the arms, legs, etc. > > > > >> It's amazing how much of the physical and mental aspects of > proficient > > > > >> (name just about any endeavor) are the same. My experience is more > > > with > > > > >> motorcycles and sports. In the case of the former, tension in the > arms > > > can > > > > >> be a KILLER (say when you panic and tighten up because you're into > a > > > > >> decreasing radius curve a little too hot). Probably the same thing > > > when a > > > > >> mandolin player tenses up trying to play too fast or too loud or > just > > > trying > > > > >> to play for Tater [?]. Just another kind of crash [?] > > > > >> Don > > > > > > >> On Sun, Jan 11, 2009 at 9:47 PM, mistertaterbug < > > > [email protected]>wrote: > > > > > > >>> Really good stuff, Don. I have seen some of these quotes > repeated > > > > >>> almost verbatim in musical instruction books. I agree > wholeheartedly > > > > >>> on all points. One fellow that I met at the first Mandolin > Symposium > > > > >>> said that they spent over an hour and a half in one of Chris > Thile's > > > > >>> classes just talking about how to sit in a chair when practicing. > He > > > > >>> was not as interested as Chris was in how to sit in a chair, but > the > > > > >>> point still transfers, I think, that there is right and wrong > > > > >>> methodology to this fanatic pursuit we share. Thanks again, Don. > > > > > > >>> Tater > > > > > > >>> On Jan 11, 8:50 pm, Don Christy <[email protected]> wrote: > > > > >>> > So I was reading a rare vintage instruction book and thought it > had > > > > >>> > some interesting and timeless advice: > > > > > > >>> > - A few minutes in the right way are worth more than hours of > > > practice > > > > >>> > in the wrong way. > > > > >>> > - Wrong practice will lead you in the wrong direction. > > > > >>> > - Never begin to practice before you are sure you know how. > > > Languid, > > > > >>> > thoughtless practice should be avoided. > > > > >>> > - Put ambition, put energy, put the fire of determined will > behind > > > > >>> > your practice, and the results will be astonishing. > > > > >>> > - Not only keep the muscles of the right arm in a relaxed > > > condition, > > > > >>> > but guard against tension in any part of the body. > > > > >>> > - ... constant repetition is necessary in developing a good > style. > > > > >>> > - ... the only way to learn to execute ... is to practice ... > > > > > > >>> > The really interesting thing is that this is not a book on > learning > > > to > > > > >>> > play music. It's a book on penmanship: > > > > >>> > The Palmer Method of Business Writing by A. N. Palmer. (1935) > > > > > > >>> > Who knew that becoming proficient in playing mandolin and in > > > > >>> > penmanship required so many of the same concepts?? > > > > > > >>> > Don > > > > > > 332.gif > > > > < 1KViewDownload > > > > > > 361.gif > > > > < 1KViewDownload > > > --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
