Skip to main content

Taking Breaks

 I stumbled across a series of videos by a Dr. Molly Gebrian yesterday. In them, she talks about the importance of taking breaks when you're learning something. The mind needs time to put structures in place to accommodate the new learning, so we need to take breaks to allow it to do that.

She compares it to road work: You have to shut down the road in order to repair it. I also think of it as being like pouring concrete. Once you've poured the concrete, you absolutely need to stay off of it for a while so it can harden and thus become useful. If you pour it and then you keep walking on it, trying to even it out here and there, you'll end up with a mess. Similarly, we need to let our brains "cement" the new information before we can build on it.

Forced Practice Breaks

I think there could be something to this idea. When I was in college (and even during COVID), I would practice several hours a day, sometimes several times a day, but I was often frustrated at how slow my progress seemed. Now? I'm lucky if I can get in a whole hour of practice each day (and even then, it's broken up into a few minutes before work, a few minutes after work, and a few minutes before I go to bed). But I'm learning, and even memorizing, more efficiently and effectively than I have in the past. The music I'm learning isn't any easier than what I was doing before. I just seem better able to learn and memorize.

Maybe those forced breaks between practice sessions have been good for me.

An Experiment

I'm going to do an experiment with contrary-motion minor scales. I can play them all, but I'm stumbling a bit with a few of them, particularly B minor, F# minor, and Eb minor. Currently, I'm playing the similar/contrary motion scales for majors and minors in all keys on alternating days. I'll keep doing that, but I'm only going to include the minors that are easy for me. But in addition to that, I'm going to spend a little extra time on one of those minor scales each week. I'll do three days of focused practice on, say B minor, and then take a day off. And then on the fourth day, I'll add B minor to my regular exercise and see if it's improved.

If it has, I'll do the same thing with F# minor. And since I know my two readers will be sitting on the edge of their seats, wondering if my experiement works. I'll report the results next week. Meanwhile, here is the first of the videos on taking breaks.

Labels:

Comments

Post a Comment

Popular posts from this blog

March Goals Recap/Looking Ahead to April

It's April 1, and time to revisit the goals I set for last month. I practiced a total of 50.45 hours in March, averaging 1.62 hours (or just over an hour and a half) per day. Realistically, I practice about 45 minutes to an hour a day on weekdays, and I usually get at least one longer practice (or multiple shorter practices) in on one or both days of the weekend to bring the average up. CLASSICAL GOALS Chopin, F Minor Nocturne March Goal: Have entire piece by memory and performance-ready. I have about 90% of the piece by memory, but I still have some work to do before it's performance-ready. The only two sections that I don't quite have are "The Agitation" and the "stretto" section with the seventh chords. I'll work on both this week and will have them both memorized before the weekend. April Goal: Finish memorizing, and polish, polish, polish! My focus now is really on phrasing and dynamics. I have the notes down, even in the difficult passages. Fro...
Post a Comment
Read more

The Rusty Lock and Key

I'm in a room. There's a door in front of me. On the other side of that door is a whole world of adventure and imagination and joy and delight, but for the moment, I'm locked in this gray little room. The door itself has a lock that is all rusted. I've tried to open it in the past, but I've never gotten very far. Sometimes I try to scrape the rust off the lock. I also have a rusty old key that I occasionally try to polish. Each time, after I've made a little progress, I'll put it into the keyhole in hopes of opening the door. It turns a half a millimeter or so, but the brief excitement at my progress dies quickly when I realize, once again, the lock isn't opening. I set the old key aside, and from there I can forget about the door, the lock, and the world outside, for months—years, even. But then something happens—I hear birdsong, or I catch a glimpse of color—and I pick up the key and start picking away at the stubborn rust. That dark little room is my ...
Post a Comment
Read more

I Need an Intermediate Piece

Deborah wants me to pick out an intermediate piece to start learning next week. I went to the ARCT Syllabus guide that Robert so graciously sent me and looked up all of the pieces that I considered "intermediate." They were mostly Grade 6 and Grade 7. Not intermediate enough. I looked up my Beethoven Sonatina in G, my most recent intermediate piece. It's a Grade 3--a very early intermediate. So I'm looking for something in the Grade 4-5 category. And I'd kind of like to work on one of those pieces that everyone loves to hear--Fur Elise, Chopin's Em prelude, the Brahms waltz in Ab--all pieces I learned in junior high, but pieces that I'd like to re-learn, and learn to play well , and not like my junior-high self, whose heart wasn't in the music. And they are pieces I love, and that others love hearing as well. Hmm. Fur Elise is Grade 7. The Chopin Prelude is Grade 8. The Brahms Waltz is Grade 8. Too advanced for an intermediate piece? I'll talk it ...
3 comments
Read more