Aug. 17, 2026

The Sound of Gold with guest Jackie Yong

The Sound of Gold with guest Jackie Yong
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Season 2

Currently the Assistant Professor of Piano and Keyboard Division Coordinator at Palm Beach Atlantic University. I teach at both the college and preparatory department. I'm also serving as the Florida State Music Teachers Association (FSMTA) Vice President for District and Local Associations, FSMTA District VI Vice President for Concerto Competition, and Palm Beach County Music Teachers Association (PBCMTA) Secretary.

The Sound of Gold is broadcast live Mondays at 4PM ET / 1PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Sound of Gold TV Show is viewed on Talk 4 TV (www.talk4tv.com).

The Sound of Gold Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-sound-of-gold--6696013/support.

WEBVTT

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This program is designed to provide general information with regards

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to the subject matters covered. This information is given with

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the understanding that neither the hosts, guests, sponsors, or station

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are engaged in rendering any specific and personal medical, financial,

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legal counseling, professional service, or any advice.

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You should seek the services.

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Of competent professionals before applying or trying any suggested ideas.

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Hi, welcome to the Sound of Gold. It is so

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good to be here with you. And I love mondays

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because I get to have this show and I necessarily

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cannot see you, but you can see me and you

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can hear me. So welcome. I'm here in my home

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studio with my cat. He is keeping me company, and

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you know it's I hope you all had a good weekend.

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And if you're watching this on a recorded the recorded

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version of this, whatever day it is, I hope you've

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had a great day. And so today's Monday. We just

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had a weekend that I hope you enjoyed yours. For

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those of you that know, you know, and for those

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of you that don't, my new audience members that might

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be listening in for the first time, this is the

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Sound of Gold, and I am the radio show host,

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and our focus is on music, musicians, music venues, music teachers,

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music schools, music composers, and musicology of all kinds. And

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it is my pleasure to represent the sound of Gold

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because I am not only a radio show host, but

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I am also a music teacher and a professional pianel player.

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Today is Monday, as I mentioned, and because it is

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that day and it is the end of our day,

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and whatever day and time you're listening to this, I

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want to just welcome you in and just kind of

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take a couple of minutes to relax if you know,

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as I mentioned, you know, but if you don't, I

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feel like a channel an energy and I play. I

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don't have anything.

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Memorized, So if you take a couple of minutes just

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to relax before I get to introduce an amazing guest

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I have with me today.

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I have been playing piano for over twenty years. Nope,

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I've been playing for over forty five years. I've been

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teaching for over twenty years, and it's a true honor

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to get to love what I do and call that

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work because it's really not work. And as a music teacher,

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as I mentioned, I have the privilege of connecting and

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having friends that our teachers as well. And I have

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a very special guest with me today and he can

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tell you a lot more about what he does with

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his teaching. And I have Jackie Young joining me today

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from pomp Each Atlantic University assistant professor. And Jackie, I

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know you were sitting backstage, please join me. Hi, Lisa, Hi,

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thank you so much for being here today.

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My pleasure. And that was a very beautiful improvisation. I

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already like it.

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Thank you, thank you, and yes, I just kind of

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feel in the moment and I play it out and

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however it sounds. Thank you. I appreciate your kind compliment.

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You play, you play as well, and you play some

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really big con concert pieces, big classical pieces. And what

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is one of your favorite pieces that you'd like to play.

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That's a hard question. It's almost like asking which one

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is your favorite child. So my right now on my fingers,

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I've been playing Rhapsody in Blue lately because it's America

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to fifteen. I think Rhapsody in Blue was celebrating anniversary

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I think last year, and I think that's not the

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most difficult piece, but it has a lot of connection

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with my life. I feel like because you know, it's Rhapsody,

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there's a different episode describing different narratives and stories in life,

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and I just feel a lot of connection to it.

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And there's seriousness, there's beautiful melody, yes, excitement, and the rhythm.

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I think it is almost like, you know, describing a

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life in a short fifteen minutes.

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Oh, I love that, And yes, I guess it is

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a hard question because there's so many and for me

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maybe you can relate too. There are some days where

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I feel a certain way and I'm going to play

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a certain way, where other days I feel differently and

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I'm going to play differently, Like some days you want

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to hear classical and other days you want to hear

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like ac DC rock and roll.

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So exactly.

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Yeah, So I know you because we are on the

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board of mt and A Music Teachers National Association here

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in Florida, and it's been a privilege it continues to

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be a privilege to be on the board with you.

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You do so much. But before we even get to

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that part, Jackie, share with us a little bit about

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your history of music and how how your journey has

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led to you to where you are now.

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Yes, I can give you a sized version of the

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story because I can talk about it all day long.

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My background is a little bit different. If you were

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to have a stereotypical, you know, knowledge of Asian students,

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they would start with four or five right that they

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will go on to lots of competition, that kind of stuff.

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But for me, I actually started fairly late. I only

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started playing piano when I was about fourteen years old.

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I started self taught after going to church, and I

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really like it. One of my friends she introduced, you know,

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some basic technique for me to learn it. I learned

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how to read notes, and I learned them really really fast.

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I practiced a whole lot, and I started accompanying my

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church choir before I started taking my first formal pianel lesson,

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and I got so good at it that the church

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director encouraged me to take a formal panel lesson. But

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I wasn't coming from a very wealthy family, so I

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wasn't able to ask my parents for that. So my

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church director choir director was very kind that the found

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a sponsor for me to pay for my tuition.

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Nice.

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Yeah, I remember the tuition was about sixty dollars, and

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they answered me fifty dollars a month and I would

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use my pocket money to pay for that ten dollars.

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That's why I started. Actually I was turning sixteen that time, okay. Yeah.

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And in Malaysia we use Trinity College London and also

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a br SM, so that's the board zen board system

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that we use over there, and I do it very

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very quickly. The first year, I finished level three with

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high distinction and I actually got ninety nine out of

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one hundred. The only points that I was deducted was

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because of one we're all not in sight reading. Oh yeah.

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And then the following year I took a level of

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five and seven. I also received high distinction and the

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highest score in my city. And then the following year

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I was doing the last year of my high school

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grade eight. That's the highest before going on to diploma

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level okay, and I eventually achieved a licensiate diploma, playing

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some very difficult pieces. And then I was deciding if

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I should go on to you know in college to

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study either medical field or something science or music. I

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only applied to a University of Malaya, the only school

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that I applied for the music program, and I also

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got into some other university too, and I start to

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think about what do I really want to do in

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my life? What is my true calling? Yes, now I

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would foresee myself, you know, doing music in the next

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ten twenty or the rest of my life. So I

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decided to go for music. Yeah, and in Malaysia, the

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public university system undergraduate it's only three years. So I

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finished it three years, and so I was technically applying

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for my master's degree program when I was a junior

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according to the American system. Yeah, so I always feel

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like I'm lacking a lot, you know, I think one

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year less of training. But I was fortunate that I

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got into a program at the University of Tennessee and

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they offered me full tuition scholarship along with graduate assistantship. Yes,

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so that allows me to come to the States to

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begin my you know, American dream. I'm here twenty nineteen,

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and then guess what, twenty twenty. Yes, there is a

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co acdemic, right. It was very hard. I was spending

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most of my time alone in my apartment. But yeah,

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but I get through it, you know, And I was

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applying started to apply for doctoral schools in my second year.

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It was a little bit unusual because everything is online. Yeah, yeah,

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And I decided to go to study with Reed Gainsford

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at Florida State University. Okay, yeah, that's where I did

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my doctoral degree in piano performance. And while I was there,

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I was pretty ambitious too. So the tuition, you know,

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I was al received a graduate assistant that covers my

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tuition and stuff. But I also did three additional certificates

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specialized studies in piano pedagogy, music theory, and on college teaching,

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because I want to make sure myself, you know, unmarketable

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for his college teaching job of course, right, yeah, And

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I think I'm very fortunate and lucky that I applied

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to a different college teaching position in Beach Atlantic University.

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Hire me, and this is I'm mentoring my third year

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teaching here now.

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Wonderful, and so I have a lot of questions for you.

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Now.

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I want to go back now in the United States

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from my training, I started private, taking private lessons when

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I was five, and I grew up with that. And

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I grew up. I had maybe five different music teachers,

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and I think for them quite on me that one

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got sick. But and then you know, life moved on

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and I become an adult and then you find ways

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to connect and learn. So the United States, from my experience,

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is different than Europe. I have family in Europe, and

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my cousin who taught, who was my first teacher was

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my is a piano teacher in her in Italy, and

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so I don't know, but I do know there is

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a sequence. Like you said, there are different segments of

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piano learning that you have to pass in Europe. Is

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that the same in Malaysia? Are there like certain levels

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you have to pass in order to move up?

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Yes? Yeah, So part of the Malaysian history was we

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were colonized by the British, so one of the music

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systems that we were introduced mostly were through London. They

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have several examination board the most famous one would be

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the Associated Board of Royal School of Music. Okay, also

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Trinity College of London, but of course now they're more

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coming in. There are some Australian examination board, and I

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believe the Royal Conservatory of Music is also pretty getting

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more and more prominent. But for the most part, most

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of the students, if they take panel lessons, they will

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go through either the a b RS and or Trinity

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at ZAM in Malaysia.

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Now recently I heard jumping a little bit the S

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A R R or the Yes. They've released the pressure

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of having to pass that it is now more open.

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It doesn't limit the students because I can't explain it well,

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can you share with our audience a little bit more

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about what I'm what I'm hinting to.

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Yes. So the good thing with this examination board system

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is that they're continuously adapting to what the students and

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teachers need. And I remember it was during the pandemic

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where it was challenging for them to send you know,

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a zeminar from the UK to different countries because you know,

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for the obvious reason. They start to do online at

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ZAM and one of the very thing that's difficult to

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evaluate through ZOOM is things like site reading, oral skills

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and technical skills. Right, So they decided to offer an

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option where the students can play four pieces instead of

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three pieces, and one of the additional pieces kind of

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replacing the technical skills, allowing students to focus more on

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the solo pieces. Right. Of course, there's good and bad things, right,

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The thing is that the students get to you know,

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have more solo repertoire that I can use it for

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you know, say audition or competition. And if you look

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at college audition requirement, it usually requires four. Right, so

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we have the Baroque, Classical, Romantic, and the contemporary. Right

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you only have three, then you would have to sacrifice

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one of the period which I think you know, it's okay,

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but we want to mature students have the balanced diet, right, yes, yes, Well,

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on the other other hand, you know, if we take

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that part out of the curriculum, that means we're not

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gonna spend as much time teaching those things like sarating scales.

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They're important for students musical growth. Right. I think it

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depends on how the teachers want to run it. If

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they really want to be ZAM oriented, right, they can

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totally neglect that. But I'm pretty sure most teachers are

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still being you know, honest and accountable. I'm pretty sure

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they still have to teach those things. So this other

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you know, the pros and cons of you know, replacing

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the technical skills with additional solo piece.

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I understand. Now for you share with our audience a

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little bit about your your teaching. You teach at the university,

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you teach privately, how would audiences out there that are listening,

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because those that are watching, they can see the role

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on the bottom of how to connect with you. But

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those that are listening, how could someone want to connect

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How can somebody connect with you to take a lesson

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or to learn from you.

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Yes, So I'm the assistant professor Piano at Pambich Atlantic University.

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As you mentioned, I'm also the keyboard division coordinator, so

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I oversee all keyboard activities at the university. I teach

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all piano majors and most of the piano majors because

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we also have had John teaching some of them and

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I have. I also teach some secondary students, and in

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fact I have I guess you can use colorful to

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describe my students because I do have a graduate pharmacy students.

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I used to have a senior she's an English major

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and psychology major. As a student he's a ministry major.

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And sometimes you know, they are more enthusiastic than the

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music students because they truly want to learn it right.

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So I do enjoy teaching those as well. Right now,

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I'm doing doing a curriculum revision for piano classes, so

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I'm taking all I'm teaching all of the piano classes.

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I want to make sure that a curriculum setting fit

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our student needs, but also matching the market needs to

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make sure they are employable. So that's what I'm doing

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right now. There's a lot of teaching, but I do

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enjoy teaching teaching piano classes as well. And other than

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the college level, the university also has a preparatory department

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where pre college collegiate students of all ages could sign

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up to study with the faculty at the prep department.

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Right now, we have three teachers that students can choose from. Actually,

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yes two days ago, we had an open house where

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we have lots of students coming in, parents coming in

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to sign up. And I remember during my first year

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of teaching, I only had one student. Last year it

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started with six, and then semester it grows to eight,

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and then over the summer there are a few students inquire.

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I was up to twelve. Oh wow, yeah, I was

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just checking the list. Right now, I think I'm up

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to sixteen.

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Oh my gosh.

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There's a lot of students. But I do enjoy teaching

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students of different backgrounds, getting to know students of different personality.

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I think that's very important, and I feel like I

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do it right and I feel i'm yes. I also

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think that I'm early in my career stage. I'm still

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young and have lots of energy that I could handle

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more students together all my experience, and I think it

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will be very beneficial.

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That's wonderful. I've been so I've been teaching. In fact,

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I had applied to I think last year I put

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in an application for PBu, but then I thought, well,

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it might be a little too far for my drive,

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for my drive because I think it's for an evening

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position or adjunct and that jumped. Yeah. But anyway, the

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students I have and I'm relating to what you say,

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and I mentioned this before we started our show today.

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I love watching my students grow, and even more so

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than that, I love growing with them because I can

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see where they start. And as a teacher, my students

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teach me too, you know, And it's just such a

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joy to have to be in the position to teach

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what we know and then and for the children to

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be open to learn. And funny you said, like your

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graduate students or the older students. This morning, I had

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my oldest student, who's ninety five. Wow, So it's quite

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it's such a joy to see the enthusiasm and like

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they want to take it. It's not like mom and

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dad sign them up and you have to take the lesson.

305
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So I understand what you're saying. Yes, what what is

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your favorite and you you're allowed to be partial? What

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is your favorite focus? If you had to pick a

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period of time and you could and if you could

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just teach that, what would.

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It be in terms of music?

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In terms of yes, piano music.

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Because I thought you might be mentioned h level, But

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we can talk about that later.

314
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Oh well, okay, that's yes, we're on that topic. We

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can talk about both.

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Okay for age level. Personally, I'm more passionate with older students,

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so you college levels and both, because I feel like

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sometimes it's easier to communicate and you can go to

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talk about something in a much deeper level.

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Right.

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But people might thought that teaching younger kids are easy,

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it's actually much more difficult because you need to know

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how to talk to their level and explaining things in

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ways that they will be able to understand. And one

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thing that I noticed has become a challenge is that

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you know there's this generation gap. I know I'm still young,

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but like the younger generation, they grew up always having

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Wi Fi around, right, that's not jame Z or jen Offa.

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The way they communicate is different. Attention span might be shorter, right,

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So all things we have to consider. So that's what

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I'm trying to learn. I wanted to you know, be

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able to teach students of all kinds. If I were to,

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you know, get to choose, I would probably focus on

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other students in terms of music.

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Again, at this it's a different day, a different different right.

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In terms of you know, versatility, right, we want to

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make sure. I want to make sure my students be

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able to play any kinds of music, not just the

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one that they like, right, because you know, personal preference

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can change, and that you don't I don't want them

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to make out all the good things in different period right.

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00:22:03.599 --> 00:22:07.000
So I'm classically trained, but I also play a lot

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of churches too, so I know the contemporary style, and

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in fact, that's actually how I started to So some

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of my students, I would ask them to play a

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lot of core progression and teach them some improvisation skills

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to surface their foundation before they can you know, move

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on and be creative with how they want to improvise.

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But I do like to think that I'm very good

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at teaching, uh, like the late Romantic and modern period. Yes,

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those are more complicated because say they don't use they

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don't necessarily use tonal language. Right, those are hard to understand,

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but you can always associate, you know, things from the

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period before that you can trace and connect them. And

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once the students click on it, and most of the

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time they like the contemporary or people will call it

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the weird pieces more than the regular pieces liked are

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a Bach, the.

359
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Wrap and off right, So do you use I don't

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know the curriculum you use, but I know like with

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my students at the music studio, we refer to the

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Favor books and at the younger ages and then you know,

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we go into different different books for the older students.

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With your younger students, do you start with a favor

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do you start with a different like.

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Alfred or for me? I think it depends on the

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student's personality. For younger students depends on the age level

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because different you know, piano methods has different has their

369
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own pros and cons Right, I would use Favor for

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older students when they need something, you know, organized that

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that can read it. So I would I would use favor.

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But lately I've been really enjoying teaching using this piano

373
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method book called Piano Safari. I'm I'm not sure if

374
00:24:00.440 --> 00:24:01.240
you're aware of it.

375
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I've heard of it.

376
00:24:02.519 --> 00:24:07.319
Yeah, it was so far. Both authors they graduate from

377
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University of Oklahoma. One of them has a doctoral degree.

378
00:24:11.440 --> 00:24:15.640
They actually did a research, very thorough research on piano technique,

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analyzing each piano technique book and they pedagogically, you know,

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make sure that it is introduced in the right sequence right.

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So I thought that was very neat and it's very

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technique focused, and it also introduced learning alongside note reading,

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so it's not just you know, teaching students not reading

384
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right away. It trains students to listen a lot. He

385
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uses all range of the keyboard.

386
00:24:46.720 --> 00:24:47.000
Nice.

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00:24:47.200 --> 00:24:50.599
He actually started with black keys rather than piece, which

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is very unusual. But I think it helps students to

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get really familiar with the keyboard topography.

390
00:24:56.319 --> 00:24:58.920
Yes, yeah, I love that. I'm going to I'm going

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to look into that as well. Now for our audiences

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out there, for those that play an instrument, play piano,

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or for even those that are thinking about signing up

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to take a lesson, what what is your feedback? I

395
00:25:13.680 --> 00:25:17.240
know how I teach, and I know my my mythology

396
00:25:17.440 --> 00:25:20.559
if that's where you were to use, But what is

397
00:25:20.599 --> 00:25:24.039
your feedback as far as practicing? Do you are you?

398
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Is your focus on technique? Is your focus on scales

399
00:25:29.079 --> 00:25:32.359
and chords? Is it on the music piece? Is it

400
00:25:32.440 --> 00:25:37.799
on the note reading? Like? What is your yeah, what

401
00:25:37.960 --> 00:25:42.640
is your I guess focus? And maybe if it was

402
00:25:42.680 --> 00:25:46.759
a schedule of a practice, how would you put that together?

403
00:25:47.000 --> 00:25:50.319
So I'm asking a few questions and hope not too confusing.

404
00:25:51.480 --> 00:25:55.880
Uh, different methodology for practicing. I think that's a very

405
00:25:55.880 --> 00:25:59.160
important question. There's a quote saying that a good teaching

406
00:25:59.480 --> 00:26:02.759
is a teaching about practice because you know, we only

407
00:26:02.839 --> 00:26:06.640
get to see students maybe thirty minutes or an hour

408
00:26:06.759 --> 00:26:09.599
a week, maybe two hours if we have studio class, right,

409
00:26:10.000 --> 00:26:12.680
But the rest of the time student needs to practice

410
00:26:12.759 --> 00:26:16.359
by themselves. So I think it's very important that during

411
00:26:16.440 --> 00:26:19.640
our teaching we give very clear instructions on how to

412
00:26:19.720 --> 00:26:24.079
practice right. So I would you know, depending on a

413
00:26:24.359 --> 00:26:28.440
student edge level, their practice should always go through everything

414
00:26:28.440 --> 00:26:31.640
that we cover during lesson right. And here's the tricky

415
00:26:31.680 --> 00:26:34.880
thing the student might not always remember even if they

416
00:26:34.920 --> 00:26:38.599
take notes right. So I had a tripod set out

417
00:26:38.640 --> 00:26:41.119
in my office that the students can put their phone

418
00:26:41.160 --> 00:26:44.400
and record their whole lesson so then they can watch

419
00:26:44.440 --> 00:26:47.319
it at home after the lesson or anywhere they like. Right,

420
00:26:47.759 --> 00:26:51.720
Because things like technique we can demonstrate to them right,

421
00:26:51.960 --> 00:26:54.400
we can help them feel it at the moment, but

422
00:26:54.559 --> 00:26:58.039
they can't always, you know, able to replicate it correctly

423
00:26:58.240 --> 00:27:02.480
without someone guiding them. That's to them. I can always

424
00:27:02.519 --> 00:27:04.839
refer back to the video recording on how we do

425
00:27:04.920 --> 00:27:09.079
it right. So that's one thing that I kind of

426
00:27:09.480 --> 00:27:13.359
reinforce in my lesson. And then you you probably know

427
00:27:13.400 --> 00:27:18.480
there's two you know, quality over quantity. I rather my

428
00:27:18.599 --> 00:27:25.000
students have quality maybe short practice then longer but distracted practice.

429
00:27:25.319 --> 00:27:28.640
So I would always telling my students to keep their

430
00:27:28.680 --> 00:27:35.160
practice time sacred, sacred away from distractions. And that can

431
00:27:35.200 --> 00:27:39.200
be our full right or our friends need to lock

432
00:27:39.200 --> 00:27:41.359
our practices and make sure they don't knock on your

433
00:27:41.359 --> 00:27:45.960
door and all the time. Sometimes parents can be distraction, right,

434
00:27:46.279 --> 00:27:49.559
So make sure the practice space is can be like

435
00:27:49.599 --> 00:27:53.319
a bubble that they can kind of date the music

436
00:27:53.359 --> 00:27:57.680
that they're practicing. Very you know, focus. I think that's

437
00:27:57.759 --> 00:28:00.680
very important now, you know. Of course, the students and

438
00:28:00.720 --> 00:28:04.279
parents always ask about specific hours, how much minutes they

439
00:28:04.319 --> 00:28:07.960
need to practice. For young beginners, I would recommend, depending

440
00:28:08.039 --> 00:28:10.279
on the age you know, at least fifteen to thirty

441
00:28:10.319 --> 00:28:15.200
minutes right, Intermediate level forty five to an hour, Advanced

442
00:28:15.279 --> 00:28:18.920
level in hour to two hours. You know, college level.

443
00:28:19.720 --> 00:28:24.359
Can never practice too much, right. The concept of practicing is,

444
00:28:24.880 --> 00:28:27.680
you know, knowing the piece. Because you need to own

445
00:28:27.720 --> 00:28:30.599
the piece, you couldn't play it like you might know it.

446
00:28:31.000 --> 00:28:34.119
You really have to let the music infiltrate into you

447
00:28:34.359 --> 00:28:35.480
and let you be part of it.

448
00:28:35.759 --> 00:28:35.960
Right.

449
00:28:36.039 --> 00:28:39.359
It's almost like acting. It's like if a bad actor

450
00:28:39.480 --> 00:28:42.480
is not knowing the script well, but then they try

451
00:28:42.559 --> 00:28:44.759
to add, it will be pretty painful to watch them,

452
00:28:44.839 --> 00:28:47.279
isn't it. So in order for our audience to fully

453
00:28:47.400 --> 00:28:51.319
enjoy the music, we need to thoroughly understand it, and

454
00:28:51.400 --> 00:28:55.559
that includes not reading, knowing the harmony, knowing the theory,

455
00:28:55.759 --> 00:29:00.319
knowing the chord progression, understanding the composer's background, why the

456
00:29:00.319 --> 00:29:05.960
composer wrote this particular piece, why this particular articulation is here. Right,

457
00:29:06.279 --> 00:29:09.640
we have to know how to separate out on uh,

458
00:29:09.960 --> 00:29:14.839
you know, assumption of the music and passively understanding from

459
00:29:14.839 --> 00:29:19.319
the composer perspective to fully interprect the music authentically.

460
00:29:19.880 --> 00:29:23.079
So so let's say, and this is for my piano

461
00:29:23.079 --> 00:29:25.960
players out there, and really if you use if you

462
00:29:26.160 --> 00:29:31.559
play any instrument, you can still use these ideas. So

463
00:29:31.640 --> 00:29:33.960
I'm going to pretend I'm the student. So I'm going

464
00:29:34.039 --> 00:29:37.480
to ask you questions. So if I'm playing a piece,

465
00:29:38.200 --> 00:29:42.319
and do you do you have me play? Like first

466
00:29:42.319 --> 00:29:46.160
time seeing a piece, it's I don't know, I'm not

467
00:29:46.720 --> 00:29:51.880
it's a Beethoven piece, and I do I sit in

468
00:29:52.000 --> 00:29:54.440
and I play left hand, right hand? Separate? Do I

469
00:29:54.440 --> 00:29:58.000
play hands together? What is your approach? Do I play?

470
00:29:58.160 --> 00:30:00.240
And again, I have my own way, but I'm I'm

471
00:30:00.279 --> 00:30:04.759
wanting you to speak. So how would you introduce me

472
00:30:04.839 --> 00:30:07.039
to a piece? Or you pick a piece for me?

473
00:30:08.279 --> 00:30:10.400
Uh? What would be a good piece? I guess we

474
00:30:10.440 --> 00:30:13.359
can pick Beethoven because it's also Beethoven's aniversary.

475
00:30:13.640 --> 00:30:17.960
I think yes, two hundred and fifty years. Also, that's right,

476
00:30:18.799 --> 00:30:20.519
is it one hundred years since his death?

477
00:30:20.920 --> 00:30:24.200
It might it might be two hundred, I think yeah.

478
00:30:24.200 --> 00:30:29.519
Because I had a conversation with Pat last week or okay,

479
00:30:29.680 --> 00:30:33.480
last week, about his birthday? Yeah, this year or the

480
00:30:33.559 --> 00:30:36.079
celebration of his yeah something yeah.

481
00:30:36.119 --> 00:30:40.240
So for example, take you know, Beethoven piano sonata for example,

482
00:30:40.519 --> 00:30:44.559
right would start the first the lesson even though students

483
00:30:44.559 --> 00:30:46.519
may or may not know, I would start queezing them.

484
00:30:46.880 --> 00:30:53.240
You know which period was Beethoven from which composer influenced him? Uh?

485
00:30:53.279 --> 00:30:56.119
What kind of piano that does he plays? And why

486
00:30:56.200 --> 00:30:58.559
does how many piano sonatas did he wrote?

487
00:30:59.200 --> 00:30:59.359
Right?

488
00:30:59.440 --> 00:31:02.960
What's beta? The most important contribution in music? That kind

489
00:31:02.960 --> 00:31:06.359
of stuff to kind of give students heads up, where

490
00:31:06.359 --> 00:31:08.839
are we in? Right? Because the thing is, if you

491
00:31:08.960 --> 00:31:12.559
use the wrong period to interpret the wrong composer again,

492
00:31:12.599 --> 00:31:14.799
it can be pretty painful if you play Bethov and

493
00:31:14.839 --> 00:31:18.680
too romantic. I mean, it's possible, right, but it has

494
00:31:18.720 --> 00:31:20.839
to be kind of appropriate. So I think we should

495
00:31:20.839 --> 00:31:24.559
start with the composer and then the next thing. Now,

496
00:31:24.599 --> 00:31:28.279
this can be pretty arguablet because some teachers doesn't like it.

497
00:31:29.599 --> 00:31:33.000
If it's younger student, I would recommend them to listen

498
00:31:33.039 --> 00:31:37.759
to the music online, reading the music, following the music

499
00:31:37.759 --> 00:31:40.960
together line by line with the music, just to give

500
00:31:41.000 --> 00:31:44.319
them an oral idea on how they sound right. And

501
00:31:44.359 --> 00:31:47.319
then the next thing is not play not playing yet

502
00:31:48.119 --> 00:31:51.680
to kind of analyze the structure right, because you know

503
00:31:51.920 --> 00:31:55.960
it's all predictable. There's first theme or first subject, second

504
00:31:56.000 --> 00:31:58.920
subject or first theme, second theme right, to see how

505
00:31:58.960 --> 00:32:03.359
it changes, right, Yes, that's in the exposition and then

506
00:32:03.839 --> 00:32:07.559
development section. See how the modulation happening. Right, So then

507
00:32:07.599 --> 00:32:09.960
when you actually play it, it doesn't come as a surprise.

508
00:32:10.160 --> 00:32:13.640
You know what to expect in a harmony. And then recapitulation,

509
00:32:14.039 --> 00:32:17.839
knowing what's the difference between recapitulation and exposition, right, and

510
00:32:17.880 --> 00:32:21.000
then kind of foresee where could be the problem, Where

511
00:32:21.279 --> 00:32:24.240
would be the problematic spot that you need to maybe

512
00:32:24.759 --> 00:32:27.039
pay attention to, So then when you actually start playing,

513
00:32:27.079 --> 00:32:30.759
it doesn't come as a surprise, basically right on first

514
00:32:30.839 --> 00:32:33.160
round if you're a good side reader. If my students

515
00:32:33.200 --> 00:32:34.559
are a good side reader, I will ask them to

516
00:32:34.599 --> 00:32:36.640
just play both hands together just to get through it,

517
00:32:36.680 --> 00:32:39.359
to get a big picture right. And then when you

518
00:32:39.400 --> 00:32:42.079
actually start practicing, of course, need to practice them chunk

519
00:32:42.160 --> 00:32:46.599
by chunk, section by section. Always practice separate hands right

520
00:32:46.640 --> 00:32:50.599
hand multiple times, left hand multiple times before you can

521
00:32:50.720 --> 00:32:53.119
und both hands together. Now, I always say this to

522
00:32:53.160 --> 00:32:56.720
my students, when you play your right hand until say

523
00:32:56.880 --> 00:33:00.000
eighty percent good, and your left hands say seventy five

524
00:33:00.119 --> 00:33:04.039
percent good. When you combine, you don't get seventy eight percent.

525
00:33:04.559 --> 00:33:07.319
You get lower than seventy five percent, isn't it. Yeah,

526
00:33:07.599 --> 00:33:11.720
you might get sixty five percent good right. So you

527
00:33:11.920 --> 00:33:14.839
have to push your right hand up to one hundred percent,

528
00:33:15.400 --> 00:33:18.119
left hand up to one hundred percent to get maybe

529
00:33:18.640 --> 00:33:21.799
eighty five or ninety percent good right. So that's the

530
00:33:21.839 --> 00:33:25.599
important of practicing separate hands, you know. And then yes,

531
00:33:25.640 --> 00:33:27.359
there's more things to talk about, and then we can

532
00:33:27.400 --> 00:33:34.720
talk about phrasing, talk about you know, tone, color, touch, articulation, dynamics, planning,

533
00:33:34.960 --> 00:33:35.759
that kind of stuff.

534
00:33:36.799 --> 00:33:41.359
Nice, I am, yeah, that's good to know. That's good

535
00:33:41.359 --> 00:33:46.680
to know. Usually well what I have found and maybe

536
00:33:46.799 --> 00:33:50.640
maybe you have found this too. And I mean no

537
00:33:50.799 --> 00:33:55.880
disrespect to anybody. And I sometimes like to be funny,

538
00:33:56.039 --> 00:34:00.240
but I sometimes wonder if it comes out funny. This

539
00:34:00.359 --> 00:34:05.960
does so the right hand the left hand, I always say,

540
00:34:06.240 --> 00:34:08.960
the right hand seems whether you write with your left

541
00:34:09.000 --> 00:34:11.559
hand or not, the right hand is always easier to

542
00:34:12.599 --> 00:34:16.239
learn fast. The left hand needs a little bit more attention.

543
00:34:16.599 --> 00:34:19.559
So especially I have students young students that get very,

544
00:34:19.679 --> 00:34:22.159
very frustrated because they can't get their left hand to

545
00:34:22.199 --> 00:34:24.960
work equally as the right hand. And I will say

546
00:34:25.000 --> 00:34:30.159
to them, it's it's the slower the slower child. You

547
00:34:30.280 --> 00:34:32.480
need to give that child a little bit more love

548
00:34:33.079 --> 00:34:35.440
a little it's the slower friend. You need to give

549
00:34:35.480 --> 00:34:37.639
them a little bit more love, a little bit more attention.

550
00:34:37.960 --> 00:34:41.760
And it's okay because it just needs It just takes

551
00:34:41.800 --> 00:34:44.400
a little bit more time for that left hand to

552
00:34:44.639 --> 00:34:48.880
learn like the right hand, and I can't. I wish

553
00:34:48.960 --> 00:34:50.840
there was I've said this many times. I wish there

554
00:34:50.920 --> 00:34:52.519
was more days than the week. I would spend a

555
00:34:52.599 --> 00:34:56.360
day researching and how the brain works, because no matter

556
00:34:56.400 --> 00:34:59.239
who we are, the left hand, even for me playing

557
00:34:59.239 --> 00:35:03.599
over forty five, you're the left hand, still it struggles,

558
00:35:03.880 --> 00:35:07.880
and I have to I take it on as a challenge,

559
00:35:07.920 --> 00:35:11.039
but I also take it on as a slower approach.

560
00:35:11.119 --> 00:35:11.679
What is your.

561
00:35:11.559 --> 00:35:15.079
Feedback, Yeah, I think that's a very very valid you know,

562
00:35:15.320 --> 00:35:19.440
and nothing to scare about. I guess discuss about this

563
00:35:20.000 --> 00:35:22.679
not the only exception that I have ever experienced in

564
00:35:22.719 --> 00:35:26.079
my life where people left hand are better than right hand.

565
00:35:26.559 --> 00:35:28.119
Are streams players?

566
00:35:28.519 --> 00:35:32.960
Oh that's true. Right because they hold the right violin here.

567
00:35:33.079 --> 00:35:36.519
Yeah, So I have a cello student, you know, many violent,

568
00:35:36.679 --> 00:35:40.760
violent students, and I gave him a shop on prelude

569
00:35:40.920 --> 00:35:43.000
in B minor where the right left hand has the

570
00:35:43.079 --> 00:35:48.159
melody and he played like beautifully right, which is rare

571
00:35:48.199 --> 00:35:51.679
because because you know, most people struggle with their left hand,

572
00:35:51.960 --> 00:35:57.840
and I think it's quite common to experience that. So

573
00:35:58.119 --> 00:36:00.360
you know, just spend more time on the parts that

574
00:36:00.400 --> 00:36:03.079
you we get Eventually it will it will come up,

575
00:36:03.239 --> 00:36:05.800
you know, equally good with your right hand, because I

576
00:36:05.800 --> 00:36:09.119
think the tendency for people when they practice is that

577
00:36:09.599 --> 00:36:12.440
you know, practice what they are good at right. So

578
00:36:12.440 --> 00:36:15.400
so right hand is stronger fingers, so they practice the

579
00:36:15.440 --> 00:36:17.679
right hand all the time because it makes them feel good.

580
00:36:17.840 --> 00:36:20.079
But then when it comes to left hand, it starts,

581
00:36:20.159 --> 00:36:22.920
it sounds bad, and then they feel discouraged and they

582
00:36:23.760 --> 00:36:26.079
they spend as not as many times as you know

583
00:36:26.119 --> 00:36:30.320
as their right hand. We could you know, be really honest,

584
00:36:30.519 --> 00:36:33.239
you know and critical to ourselves and or take the

585
00:36:33.320 --> 00:36:36.400
emotion away right and just be really honest with your

586
00:36:36.840 --> 00:36:40.199
left hand. I think eventually you get it. Now you

587
00:36:40.199 --> 00:36:42.280
you might not be as fast like you mentioned right,

588
00:36:42.320 --> 00:36:44.920
So left because left hand is slower, but doesn't mean

589
00:36:44.960 --> 00:36:47.199
you won't get there right. You can always start with

590
00:36:47.280 --> 00:36:51.119
slower temple and be really patience with yourself, and I'm

591
00:36:51.119 --> 00:36:53.760
pretty sure eventually you will you will, you know, make

592
00:36:53.800 --> 00:36:56.880
it and if it were to go even deeper, of course,

593
00:36:56.920 --> 00:36:59.320
there are specific things that you can do.

594
00:37:00.079 --> 00:37:00.400
Some point.

595
00:37:00.400 --> 00:37:03.360
If you want to play a fast running passage sixteen

596
00:37:03.400 --> 00:37:06.719
notes legato with right hand, if you're doing the first trial,

597
00:37:06.760 --> 00:37:09.599
you might not get it really clear. So I would

598
00:37:09.599 --> 00:37:13.840
do the opposite articulation. For example, point that accident staccato first,

599
00:37:14.559 --> 00:37:18.559
and then once you gain the strength in each individual

600
00:37:18.599 --> 00:37:21.320
fingers in your left hand, when you play legatto, it

601
00:37:21.360 --> 00:37:23.039
will be as good as your right hand.

602
00:37:23.440 --> 00:37:26.639
Yeah, so you would practice the left hand first.

603
00:37:25.840 --> 00:37:28.559
We spend more time with left hand, you know, you

604
00:37:28.599 --> 00:37:31.039
still have to practice right hand, just you know, give

605
00:37:31.079 --> 00:37:32.400
more love to your left hand.

606
00:37:32.599 --> 00:37:37.119
Yes, And sometimes many times I have an adult student

607
00:37:37.159 --> 00:37:42.000
where the left hand and the right hand playing it together.

608
00:37:42.159 --> 00:37:45.960
It just the coordination is not fully there. So I'll

609
00:37:46.000 --> 00:37:50.000
frequently say, let's just play it in chunks, and let's

610
00:37:50.079 --> 00:37:52.320
play left hand first. Let's play the parts that you

611
00:37:52.360 --> 00:37:55.440
don't know we're not gonna and some lessons, I will say, Okay,

612
00:37:55.599 --> 00:37:58.559
we're not playing what you know because your brain is

613
00:37:58.599 --> 00:38:02.079
not having fun anymore. You want such challenge and that's

614
00:38:02.079 --> 00:38:04.840
how you you will learn it. And I don't mean

615
00:38:05.119 --> 00:38:07.800
like you know, yeah, that's how we learn it when

616
00:38:07.840 --> 00:38:11.440
we when we are more focused on those sections. And

617
00:38:11.480 --> 00:38:13.880
I want to backtrack a little bit. You had said

618
00:38:13.880 --> 00:38:18.679
a few things over our interview, and I want to

619
00:38:18.679 --> 00:38:23.079
go back. You were talking about like practice time. If

620
00:38:23.320 --> 00:38:26.000
and I'm getting to a point if you were just

621
00:38:26.079 --> 00:38:28.519
a say to your student, go home and practice this,

622
00:38:29.079 --> 00:38:32.960
what do you what do you say? A good amount of.

623
00:38:32.880 --> 00:38:38.440
Practice time is yeah, so what I do with my Yeah, yeah,

624
00:38:38.599 --> 00:38:41.239
I have a I have a practice lock that my

625
00:38:41.360 --> 00:38:46.480
students would use, especially especially for newer, younger students were

626
00:38:46.559 --> 00:38:49.920
you know, having a disappoint notice would be a challenge

627
00:38:50.000 --> 00:38:53.000
or you know students who are over scheduled.

628
00:38:53.079 --> 00:38:56.960
Right, I have a practice lock. Is our accountability load?

629
00:38:57.159 --> 00:38:58.320
Yes, that would.

630
00:38:58.360 --> 00:39:01.039
They would have to report the specific fake time that

631
00:39:01.320 --> 00:39:03.920
they practice. They have to give it to me the

632
00:39:03.960 --> 00:39:06.760
next lesson so I can look at it and then

633
00:39:07.199 --> 00:39:10.360
you know, I don't punish them or anything, but get

634
00:39:10.360 --> 00:39:13.199
an idea of how they practice, right, And there's there's

635
00:39:13.199 --> 00:39:15.519
no point for them to lie right or right just

636
00:39:15.599 --> 00:39:17.519
a a certain amount of time because you know, they're

637
00:39:17.519 --> 00:39:21.639
basically going to themselves right, because if they're not any

638
00:39:21.400 --> 00:39:25.159
any manage benefit it from anything. Right. And what I

639
00:39:25.199 --> 00:39:27.000
do with the practice lag is at the back is

640
00:39:27.519 --> 00:39:30.400
Blenk spaces. They will write down things they need to

641
00:39:30.440 --> 00:39:33.679
practice there to make sure they really go through it right,

642
00:39:33.679 --> 00:39:35.159
because you want to. I want to make sure my

643
00:39:35.199 --> 00:39:39.239
students already and polish everything that we discussed in this

644
00:39:39.360 --> 00:39:41.519
current lesson. In the next lesson will be you know,

645
00:39:41.519 --> 00:39:45.199
everything would be polished. So I would, you know, have

646
00:39:45.280 --> 00:39:49.559
an agreement with them to sign, but we will have

647
00:39:49.639 --> 00:39:52.159
to agree that, you know, for my piano class students,

648
00:39:52.159 --> 00:39:54.800
I would say fifteen to thirty minutes er day, right,

649
00:39:55.039 --> 00:39:57.960
only counting weekdays. If you have to take a day off,

650
00:39:57.960 --> 00:40:00.639
you can you know, push say, know the nets that

651
00:40:00.719 --> 00:40:03.159
you practice forty five minutes. I think that's fine too.

652
00:40:03.559 --> 00:40:08.679
But I think I think having a consistent practice is

653
00:40:08.719 --> 00:40:12.119
more important than cramming your practice the day before or

654
00:40:12.199 --> 00:40:15.039
like an hour before your lesson. I think because it's

655
00:40:15.039 --> 00:40:18.960
building our muscle memory, right, and yes, things that takes

656
00:40:19.039 --> 00:40:22.800
time and piano playing piano is one of those things.

657
00:40:22.880 --> 00:40:26.800
It's not like your you know, academic subject that you

658
00:40:26.880 --> 00:40:30.480
can just cram everything like flip through it or you know,

659
00:40:30.639 --> 00:40:33.920
use AI chat GBT to summarize it for you. It's

660
00:40:33.960 --> 00:40:38.400
a it's a skill that tests your honesty and discipline.

661
00:40:38.400 --> 00:40:40.599
There's no shortcut, there's no magic.

662
00:40:42.000 --> 00:40:44.880
There is no shortcut, no magic. And as I mentioned earlier,

663
00:40:44.920 --> 00:40:47.360
I have my cats here, so it seems to be

664
00:40:47.719 --> 00:40:51.000
and Rebel my engineer, she knows this. It seems to

665
00:40:51.000 --> 00:40:53.119
me when I have a show, these seems to think

666
00:40:53.239 --> 00:40:57.000
is playtime. So there's any noise, you hear, any movement

667
00:40:57.039 --> 00:40:58.960
in the background. They just think it's like a.

668
00:40:58.920 --> 00:41:01.000
Free for all time to get attention.

669
00:41:01.719 --> 00:41:04.000
And I have an orange cat named Charlie and he's

670
00:41:04.039 --> 00:41:07.039
a little bit of a he likes to give everybody

671
00:41:07.079 --> 00:41:11.760
a hard time. So but thank you for sharing that.

672
00:41:12.039 --> 00:41:15.559
You know, there's a few different things I've learned, especially

673
00:41:15.599 --> 00:41:19.239
this year, and it was kind of hard to accept

674
00:41:19.280 --> 00:41:21.960
in the beginning. But I've been working with it myself

675
00:41:22.039 --> 00:41:25.480
because I still take lessons even though I played all

676
00:41:25.519 --> 00:41:28.440
these years, because I want to continue to grow and

677
00:41:28.480 --> 00:41:31.719
be better. And for those listeners out there, like as

678
00:41:31.760 --> 00:41:35.719
a musician, you never like, Okay, I learned this, I

679
00:41:35.760 --> 00:41:38.719
took the tests. I'm good. I don't need to do anymore.

680
00:41:39.000 --> 00:41:42.400
It's a continual and it's not something that you that

681
00:41:42.480 --> 00:41:46.119
you dread looking forward to. As a musician. I love

682
00:41:46.239 --> 00:41:50.480
to sit and play and practice because I hear myself

683
00:41:50.519 --> 00:41:53.559
getting better, or I understand the piece better, or I

684
00:41:54.440 --> 00:41:58.039
change something and I make it different, and it's just

685
00:41:58.400 --> 00:42:01.960
it's such a wonderful creator of outlet. And what I

686
00:42:02.000 --> 00:42:05.719
wanted to mention or go into is that what I learned,

687
00:42:05.800 --> 00:42:08.480
especially this year, was you know, you don't it's not

688
00:42:08.599 --> 00:42:13.639
the hours of practice that really make the difference. It's

689
00:42:13.880 --> 00:42:18.480
shorter spurts of practice time where your focus is more

690
00:42:19.480 --> 00:42:23.280
in line with what you're doing. And again, I've been

691
00:42:23.280 --> 00:42:25.480
working with this a lot more this year myself and

692
00:42:25.599 --> 00:42:28.440
with my students, and it's like, okay, you know, focus

693
00:42:28.519 --> 00:42:32.519
in on these two chunks or this one chunk, and

694
00:42:32.559 --> 00:42:34.639
then maybe go get a drink, go for a walk,

695
00:42:34.719 --> 00:42:38.880
go go look outside, take some fresh air. Because the

696
00:42:38.880 --> 00:42:44.719
more we break it down and focus our attention, the

697
00:42:44.719 --> 00:42:48.199
more we retain it. And so tomorrow when we come back,

698
00:42:48.239 --> 00:42:50.360
the brain is amazing. You'll get to play it so

699
00:42:50.480 --> 00:42:53.320
much easier. But I can't tell you that today. You

700
00:42:53.400 --> 00:42:57.840
have to show it to yourself tomorrow how much you've absorbed.

701
00:42:58.360 --> 00:43:02.400
And there's this thing called interference. And I've had earlier

702
00:43:02.599 --> 00:43:07.320
or I think last year. Greg Goodheart, yeah, was a student,

703
00:43:07.840 --> 00:43:10.079
not a student, but he was on my show. And

704
00:43:10.599 --> 00:43:14.199
he's a teacher as well in California. He wrote a

705
00:43:14.199 --> 00:43:17.360
book and I think if you log into his website

706
00:43:17.440 --> 00:43:21.320
he may even have a free download about interference and

707
00:43:21.360 --> 00:43:26.360
how important it is when he works with his practic

708
00:43:26.480 --> 00:43:30.199
classes and he offers interference. And sometimes we'll say, pick

709
00:43:30.239 --> 00:43:33.039
up something that you haven't played in a long time,

710
00:43:33.440 --> 00:43:36.639
or go back to something so easy, like because you're

711
00:43:36.639 --> 00:43:39.960
playing such a hard piece, you know, and breaking that down. Okay, now,

712
00:43:40.039 --> 00:43:43.079
distract yourself with something different, something easy, and then go

713
00:43:43.159 --> 00:43:46.960
back to the piece. Yes and yeah, And it makes

714
00:43:47.000 --> 00:43:49.320
such a difference because we think, oh, we have to

715
00:43:49.400 --> 00:43:53.039
learn this piece today, and it's impossible to learn it

716
00:43:53.119 --> 00:43:54.599
and own it, like you.

717
00:43:54.599 --> 00:43:59.000
Said, right, yeah, what you mentioned That practice method is

718
00:43:59.159 --> 00:44:04.840
mentioned in the book Professional Piano Teaching written by Jeannine Jacobsen.

719
00:44:05.880 --> 00:44:12.000
That's one of the methods. And then you know inter leaping, yes, yes, living,

720
00:44:12.039 --> 00:44:14.559
so you know, practice different hours of the day, right,

721
00:44:15.000 --> 00:44:18.960
But of course you know there's also people that prefer

722
00:44:19.079 --> 00:44:21.320
practice like four hours straight or six hours straight.

723
00:44:21.480 --> 00:44:21.679
Right.

724
00:44:22.760 --> 00:44:25.559
I think they all works, It just works for different people.

725
00:44:26.440 --> 00:44:29.760
I tend to practice longer hours when I was a student,

726
00:44:29.920 --> 00:44:33.519
and usually late night too. I have less attractions when

727
00:44:33.519 --> 00:44:36.039
I get all my job done, right, then I can

728
00:44:36.039 --> 00:44:39.199
truly focus on the music. I would practice, say, you know,

729
00:44:39.239 --> 00:44:41.480
from ten until two am in the morning and then

730
00:44:41.800 --> 00:44:46.840
walk back to my door to sleep, because partly because

731
00:44:46.840 --> 00:44:49.920
the pieces that I was learning was long, so pieces

732
00:44:50.000 --> 00:44:54.480
like Schumann Symphony, Attitudes or Carnival. But run through the

733
00:44:54.519 --> 00:44:57.800
pieces takes like thirty minutes, right. If you only like

734
00:44:57.840 --> 00:45:00.519
an hour, it's not enough at least for me. Right.

735
00:45:00.880 --> 00:45:04.320
But at the same time, lately, since I've been starting teaching,

736
00:45:04.840 --> 00:45:08.679
I found that interleaving practicing has been more beneficial for me,

737
00:45:09.039 --> 00:45:11.360
probably because I have more responsibly and things to take

738
00:45:11.360 --> 00:45:14.480
care as an adult. Right, Yes, like my mind will

739
00:45:14.519 --> 00:45:16.280
always think of the next thing that I need to do.

740
00:45:16.840 --> 00:45:21.440
But being able to achieve one task at one short practice, right,

741
00:45:21.880 --> 00:45:25.000
it has the same effect as longer practice. I think

742
00:45:25.039 --> 00:45:28.840
we just need to find the best method for us right,

743
00:45:29.119 --> 00:45:30.079
and we.

744
00:45:30.000 --> 00:45:31.599
Have a few minutes left, and I want to say

745
00:45:31.599 --> 00:45:33.519
a couple of things and then I have one more question.

746
00:45:34.960 --> 00:45:37.639
But yes, I have students that sometimes it's easier for

747
00:45:37.679 --> 00:45:41.039
them to practice in the morning. For me, I practice

748
00:45:41.559 --> 00:45:44.800
several times a day, but my best focused time is

749
00:45:44.840 --> 00:45:48.480
at night. But everybody's schedule is different. One of my

750
00:45:48.519 --> 00:45:51.760
adult students, his best practice time is in the morning.

751
00:45:52.400 --> 00:45:56.079
So depending on your schedule, definitely make time to practice,

752
00:45:56.239 --> 00:45:59.840
even short, short amount of time is good. And I

753
00:46:00.119 --> 00:46:04.039
wanted to make the mention you with it with the

754
00:46:04.119 --> 00:46:08.719
newer generation, the younger children. I noticed something last year

755
00:46:08.800 --> 00:46:12.039
with my students. I would give them music to Let's

756
00:46:12.079 --> 00:46:15.519
say Mary had a little lamb easy easy piece. They

757
00:46:15.639 --> 00:46:19.039
played it and they go okay, they call me miss Gold.

758
00:46:19.079 --> 00:46:20.960
They go, okay, I'm done. What do you have for

759
00:46:21.039 --> 00:46:24.239
me next? But oh no, no, you you have to

760
00:46:24.360 --> 00:46:27.320
keep playing it. Well, I'm already done with it. So

761
00:46:27.360 --> 00:46:31.599
it's like that Amazon order, I want it now, or

762
00:46:31.679 --> 00:46:33.760
microwave you know, I want it now.

763
00:46:34.360 --> 00:46:38.199
Yeah, what they call the fast food trend where people

764
00:46:38.599 --> 00:46:40.360
thought that you know, I can pay all the notes,

765
00:46:40.400 --> 00:46:43.079
I'm done, right, But there's so much more than just

766
00:46:43.199 --> 00:46:46.800
playing or pressing the correct buttons if you would say right?

767
00:46:47.039 --> 00:46:51.400
Because music is art, it's language is a communication. There's,

768
00:46:51.639 --> 00:46:53.800
you know, so much more things that you can work on.

769
00:46:54.519 --> 00:46:59.079
You could never finish practice of piece. There's always things

770
00:46:59.079 --> 00:47:01.880
that you can pick on it to make it even better.

771
00:47:02.480 --> 00:47:06.159
It's so true we have Jackie. I so appreciate you

772
00:47:06.239 --> 00:47:08.280
being on today and I could we could talk about

773
00:47:08.320 --> 00:47:11.679
this for like the next hour, if not hours, but

774
00:47:11.719 --> 00:47:15.320
we have about another minute left. What would you like

775
00:47:15.440 --> 00:47:18.960
to share with our audiences as far as inspiring them

776
00:47:19.079 --> 00:47:25.639
to continue learning music and if they haven't started yet, yeah,

777
00:47:25.679 --> 00:47:28.559
what would you share with our audience to finish this

778
00:47:28.880 --> 00:47:29.400
offer too?

779
00:47:29.800 --> 00:47:34.239
I think there's music within everyone. There's music in everyone

780
00:47:34.280 --> 00:47:37.440
that you can share it no matter how old or

781
00:47:37.480 --> 00:47:40.280
how young you are, and in their space for you

782
00:47:40.400 --> 00:47:44.000
to grow in music comparing with other people. Of course,

783
00:47:44.039 --> 00:47:47.880
that that were never works right even us? Yeah right?

784
00:47:48.239 --> 00:47:53.000
And uh, practice doesn't make perfect, practice makes progress, right,

785
00:47:53.079 --> 00:47:55.559
So as long as you practice, there will always it

786
00:47:55.599 --> 00:47:58.880
will always become better. And to those who are learning

787
00:47:58.960 --> 00:48:03.199
music that might be feeling challenged, I think that you know,

788
00:48:03.800 --> 00:48:07.920
don't forget that while you sorry it first, remember your love.

789
00:48:08.599 --> 00:48:13.239
Ye love that. Thank you Jackie so much. We will

790
00:48:13.239 --> 00:48:17.039
be in I think there's a yeah, there's some MTNA

791
00:48:17.159 --> 00:48:21.480
stuff coming up soon, so I'm exciting about that. And yeah,

792
00:48:21.559 --> 00:48:23.639
thank you so much for being such a huge inspiration

793
00:48:24.000 --> 00:48:25.760
here and everywhere else you teach.

794
00:48:25.840 --> 00:48:30.440
And yes, pleasure, thanks for inviting me.

795
00:48:30.960 --> 00:48:34.360
Yes, of course, of course, enjoy your enjoy your day,

796
00:48:34.599 --> 00:48:35.800
and we will be in touch.

797
00:48:36.119 --> 00:48:38.719
Yes you too, Thank you, Thank you so.

798
00:48:38.760 --> 00:48:41.639
Much for tuning in today. It's been a pleasure. As always.

799
00:48:42.000 --> 00:48:43.840
Tune in next week. I'm not going to tell you

800
00:48:43.880 --> 00:48:46.800
who my guest is, but tune in to help me

801
00:48:47.000 --> 00:48:47.960
keep music alive.