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1,000-Hour/5,000-Hour Model For Songwriting Success

The concept is this:

To be a good, competent songwriter, it will take 1,000 hours of practice. If you want to be a great songwriter, it will take 5,000 hours.

Winners are made, not born. So forget about talent. Talent is a gift for concentration, dedication, and a simple desire to keep getting better.

Become a peak performer, an expert, through hours and hours of deliberate practice.

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Advice To Adult Learners Of Music

Music is like a language. And we all know that learning languages comes easier when you’re a child. And in some ways, it’s much easier for a child to learn music, especially to learn how to play by ear. Putting two and two together, you might ask yourself what is the difference between an adult and a child that makes it easier for the child to learn languages?

The answer comes in dynamic skill theory. I bring this up again and again because I get a lot of emails from students who are learning how to train their ears and they all have similar challenges. They are not willing to silence their critical “adult” voice and just play with music.

Students will tell me they need a more grounded approach (more mature). Or they will tell me it must be step-by-step (completely abstract). Sometimes they tell me that they won’t gain anything from an exercise after only reading about the exercise (how would they know?).

Just play!

You can’t skip stages of development. You have to begin at the sensorimotor stage, progress through the representational stage, and then you can arrive at the abstract level. It can’t work backwards.

If you’re asking an abstract question when you need to begin from the beginning, I might refer you to this post. Don’t make the mistake of working backwards when learning new skills. It just makes your journey longer and more difficult.

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Playing Outside: The Dominant 7 Pentatonic Scale Pattern 15

This will be the last dominant 7 pentatonic scale pattern in this series. This pattern begins in the “outside key” and moves to the tonic key for two notes before switching back. The second part of the pattern begins in the tonic key, switches to the “outside key” for two notes, and then returns to the tonic.
Pentatonic Pattern 15

If you can keep the key signatures straight as you play this, then you’re definitely ready to move on to something more challenging.

And hopefully, if you’ve been following this series, you can imagine phrases that aren’t confined to the tonic key.

That was the purpose of this series on playing outside. To stretch your ear and technique beyond conventional tonality. I hope you’ve enjoyed the exercise.

Download the full pattern:

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 15

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Absolute Pitch Ear Training Podcast 08-20-07

absolute pitch ear training podcastTopics covered:
The pleasure of finding things out, Richard Feynman, Dr. Kurt Fischer, dynamic skill theory, developmental levels, adult learning, ear training, and much more…

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 Absolute Pitch Ear Training Podcast 08-20-07: Play Now | Play in Popup | Download
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Playing Outside: The Dominant 7 Pentatonic Scale Pattern 14

Now this pattern is the exact opposite of the twelfth dominant 7 pentatonic scale pattern. Every other note is transposed into the “outside key” but this pattern begins in the outside key and is a full bar long.
Pentatonic Pattern 14

Download the full pattern:

Playing Outside: The Dominant 7 Pentatonic Scale Pattern 14

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