3. What is deep knowledge in practice and musical performance? Directed by Jacob & Jessica Livianu

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How do you get to Carnegie Hall? practice, practice, practice…
Advice from a Juilliard Scholar about The importance of dedicated practice and How to develop a musical ear
6 PUBLIC SERVICE ANNOUNCEMENTS for young artists, music teachers, parents and visually impaired people
6 tracks, 53’ 23” Free PDFs transcript available by request.
Masterfully prepared by Juilliard Graduate David Livianu. Questions? [email protected]

If you are listening to this material then you have already taken the first step towards joining the world’s high performance musicians; the most important thing every student can control are the amount and quality of practice he or she applies to a specific problem.

There is a famous anecdote “A tourist on the streets of New York asks a passerby: “How do I get to Carnegie Hall?” “Practice, practice, practice” responds the New Yorker…

I would rephrase the answer “Prepare, practice and after-practice”; these are the 3 stages of learning music. Knowing that you have to practice is only the beginning of the journey. How to practice is exactly what I will discuss with you today, so you can really get to Carnegie Hall, Juilliard, or Broadway, as an accomplished artist in any genre of music.

With this in mind I will share with you my thoughts on how and why anyone that has a strong desire and willingness to work hard and smart, can develop a phenomenal musical ear and become a world-class musician.
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“The 3 Stages of Learning Music: preparation, practice and after-practice”
Lets talk about Preparation:
1. Getting mentally and physically ready for your practice is just as important as the practice itself.
2. The student needs to be rested, motivated, and with a strong belief that he or she can succeed in mastering the material at hand. This stage is a.k.a. as the self-efficacy moment, since it sets up the proper chemical reactions for the actual practice.
3. If you start in a good mood then the learning practice will be more efficient and evident in the results to follow.
4. Self-regulation centers on the attitudes and beliefs of the student; if you think you can, You Can, and if you think you cannot you are right, said Henry Ford.
5. Start with a good attitude and everything will happen in your favor; this type of attitude requires a high-level of personal motivation.
6. Best performers go into their work with a powerful belief called self-efficacy, the ability to succeed.

Now lets talk about the 2nd stage, Practice:
7. During the practice the student should focus intensely on their activity: “Listen-Sing-Repeat”.
8. The student should be able to step outside of himself during the practice and monitor what is happening:
“Am I in tune?”, “What is happening in my mind?” and ask “How is it going?”
9. Scientists call this form of self-perception Metacognition, knowledge about knowledge, or thinking about thinking.
10. The student should think in a systematic way about what he is doing and establish it as part of the routine.
11. Metacognition, the ability to observe your own thinking, is very helpful because as situations change throughout the practice, it helps the student adapt to new sets of problems and respond accordingly.
12. Metacognition also helps in finding practicing opportunities in areas that are not yet mastered, for example a particular chord or melodic pattern.
13. Students that can apply Metacognition to their practice observe and monitor their own thinking process and ask ‘What abilities are being taxed right now?” or “Can I try another skill to solve this problem?”
14. Applying Metacognition in sync with the practice is not easy; it takes a lot of patience and concentration.

And now, the last stage of your practice, called Post-Practice.
15. After the practice the student should reflect and analyze how the practice went.
16. Think about specific issues that you worked on today and feel you have understood better today.
17. The student should compare himself to his own best or others if in a classroom setting.
18. Students should choose comparison margins that go beyond the comfortable limits of sound recognition, and include deep knowledge data, for example this Major Triad belongs in several scales with a different tonal function, and so on…and
19. Top students do not blame others for their mistakes and take ownership of their own limitations.