Naturally Suited Options

[Tess]

Hmmm, I see where you are coming from... (IMG:style_emoticons/default/smile.gif)

We shall never know whether we/our kids have innate ability. But 0.5 hour per day is good for reasonable progress although if these want to be professional musicians as well like one of my kids, then that amount of time, according to the research paper, would be insufficient.

[mattrattley]

Mattraley, don't worry, I was talking with Bo there and I know Bo takes the violin so no facial injury there. (IMG:style_emoticons/default/biggrin.gif)

*stops having a heart attack*

(IMG:style_emoticons/default/biggrin.gif) of course - but still, you'd need to be superhuman to practice that much on anything... so from that it seems you need a degree of 'talent' (be it musical or superhuman!) to be able to become a pro? or not?

[Tess]

(IMG:style_emoticons/default/laugh.gif) (IMG:style_emoticons/default/laugh.gif) (IMG:style_emoticons/default/laugh.gif) Ambulance recalled...

No, no, no ACCORDING to the article's author, there is no need for innate talent at all - if he/she is right. (IMG:style_emoticons/default/wink.gif)

Hey, you don't need to be a superhuman! If you are mad about the piano/violin, it's not unusual to get so carried away that you won't notice that 2 hours have gone - just like that! *snaps finger* I know a guy who's like that. He practises piano anywhere from 3 up to 5 hours and then wonders where the time went. (IMG:style_emoticons/default/blink.gif) (IMG:style_emoticons/default/huh.gif) (IMG:style_emoticons/default/laugh.gif) Is he talented? Who knows? You need the practice whether you are talented or not so I guess one might as well do it. The thing is to enjoy it as much as possible, I guess. (IMG:style_emoticons/default/smile.gif)

Anyway, just for fun, I went downstairs to "scare" my kid just now. I said - Did you know I have just read an article which said to BE a professional musician, you HAVE to practise 3 hrs and 20 mins a day!!! She said waitingly - So? I replied - You mean you are not scared? She said in a matter of fact tone - That's okay. It's not too much. Two hours twice a day. (IMG:style_emoticons/default/ph34r.gif) Something in her expression made me laugh!

I've never timed her practice but it would seem that some people don't seem to mind the hard work! Don't seem to be fazed by the prospect, either, like the guy I told you earlier. (IMG:style_emoticons/default/tongue.gif)

You'll be fine, Matt, if you do what your teacher tells you. (IMG:style_emoticons/default/smile.gif)

This post has been edited by Tess: Feb 6 2006, 08:23 AM

[deviless]

(IMG:style_emoticons/default/biggrin.gif) i think you can be naturally good at an instrument, like i seem to be pretty good at the flute without really trying... yea i scare myself, anyway, even if your a natural, it doesn't mean that you dont have to work hard!

[hellokitty]

I reckon its just certain qualities that are passed down genetically. e.g. your dad might have a good memory for music and your mum might be very picky, making your technique and general performance better.

[donna618]

Well, I think though inborn talent may be helpful, hard working and great interest in learning are much more important. Even if we can learn an instrument fast, if we don't spend time practising it, I don't think we can make obvious progress. And, if we don't really enjoy learning and playing with it, we'll give it up easily too. (IMG:style_emoticons/default/ohmy.gif)

[sarah-flute]

Yes, absolutely. Natural talent won't get someone very far at all if it isn't backed up by hard work.

[jod]

Yes, absolutely. Natural talent won't get someone very far at all if it isn't backed up by hard work.

Amen to that. I am naturally gifted as a singer, but is has been the hours practicing that really made the difference. I am not a natural pianist, but hours of practice have got me to the standard I am today.

[musicbox]

Hmmm I'm not really that usre. I think it can also depend on what you do when you're younger. Like if you were very creative when you were a toddler, then that can sort of contribute to it.

[bohemian]

Anyway, just for fun, I went downstairs to "scare" my kid just now. I said - Did you know I have just read an article which said to BE a professional musician, you HAVE to practise 3 hrs and 20 mins a day!!! She said waitingly - So? I replied - You mean you are not scared? She said in a matter of fact tone - That's okay. It's not too much. Two hours twice a day. (IMG:style_emoticons/default/ph34r.gif) Something in her expression made me laugh!

Awwwwww bless!
This day off business, I read a quote by possibly Heifetz, which said something along the lines of "If I stop practicing for 1 day, I will know, if I stop practicing for 2 days, my critics will know, and if I stop practicing for 3 days, the public will know". Someone else (Menuhin??) said that if he takes 1 day off, what is there to stop him taking another, and another, and another?
I can see that some people like their days off, but being a freak, I can't see that I would a: want to and b: keep my motivation if I realised what else I could do with my 3 hours a day.

Tess: Thanks for your calculation (IMG:style_emoticons/default/smile.gif) it has given me new hope (IMG:style_emoticons/default/biggrin.gif)

[dacapo]

I think it should be the aim of every teacher to teach good sound technique and the best possible habits right from the start. While it's impossible to know in advance if someone will have the talent AND commitment to become very very good, it will certainly give them the best chance if they are taught well from the very beginning!

I wish that every teacher would aim to teach the maximum number of transferable skills, so that any student who turns out not to be well matched with their particular instrument doesn't start from rock bottom when they decide to try a different one. For example accurate rhythm-reading and a good understanding of how rhythmic notation works will transfer to any instrument and to singing. As an accompanist I meet too many people who have learnt a few pieces by rote but have almost non-existent music-reading skills.

[sarah-flute]

I think it should be the aim of every teacher to teach good sound technique and the best possible habits right from the start. While it's impossible to know in advance if someone will have the talent AND commitment to become very very good, it will certainly give them the best chance if they are taught well from the very beginning!

I wish that every teacher would aim to teach the maximum number of transferable skills, so that any student who turns out not to be well matched with their particular instrument doesn't start from rock bottom when they decide to try a different one. For example accurate rhythm-reading and a good understanding of how rhythmic notation works will transfer to any instrument and to singing. As an accompanist I meet too many people who have learnt a few pieces by rote but have almost non-existent music-reading skills.

Good point!

This day off business, I read a quote by possibly Heifetz, which said something along the lines of "If I stop practicing for 1 day, I will know, if I stop practicing for 2 days, my critics will know, and if I stop practicing for 3 days, the public will know".

I've seen that quote applied to dancers, too.

[AnotherPianist]

I think it should be the aim of every teacher to teach good sound technique and the best possible habits right from the start. While it's impossible to know in advance if someone will have the talent AND commitment to become very very good, it will certainly give them the best chance if they are taught well from the very beginning!

I wish that every teacher would aim to teach the maximum number of transferable skills, so that any student who turns out not to be well matched with their particular instrument doesn't start from rock bottom when they decide to try a different one. For example accurate rhythm-reading and a good understanding of how rhythmic notation works will transfer to any instrument and to singing. As an accompanist I meet too many people who have learnt a few pieces by rote but have almost non-existent music-reading skills.

This is exactly what's important, in my opinion, in music teaching. Even not thinking about transferring between instruments just between pieces on the same instrument. It seems, sadly, that a lot of people just rote learn one piece, then onto the next and so on, usually taking a long time over each piece (see the all too frequent one exam per year and no other repertoire...). People learning an instrument don't need to learn pieces; what they actually need to do is learn how to learn pieces. This is the skill that's needed and involves the important transferable skills that dacapo mentions. There's very little point learning a piece as a means to an end (apart from for enjoyment, or if one has reached the top and it's for a performance) what's far more important are the skills gained in learning that piece (which will not be very many if the piece is too hard and not learnt in the proper way). This is one reason I view sightreading as so important: it's a skill (and is transferable); playing a single piece isn't so much a skill as a party trick or a means to an end.

[sarah-flute]

People learning an instrument don't need to learn pieces; what they actually need to do is learn how to learn pieces.

*nods*

I guess the two most important things on any instrument are how to handle the technical demands of your instrument, and how to turn the dots on the page into music on your instrument. Amazing how many instrumental teachers manage to make a complete pig's breakfast at teaching one or the other or both.

I was fortunate enough to be very well taught to read music etc from a young age. I count myself extremely lucky!

[deviless]

People learning an instrument don't need to learn pieces; what they actually need to do is learn how to learn pieces.

*nods*

I guess the two most important things on any instrument are how to handle the technical demands of your instrument, and how to turn the dots on the page into music on your instrument. Amazing how many instrumental teachers manage to make a complete pig's breakfast at teaching one or the other or both.

I was fortunate enough to be very well taught to read music etc from a young age. I count myself extremely lucky!

I WISH MY PIANO TEACHER WOULD READ THAT! i learn pieces, but no technique! i'm on grade 5 and i cant actually play!