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lkso

Core Member
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About lkso

  • Rank
    Core Member

Personality

  • MBTI
    INTJ

Converted

  • Location
    San Francisco
  • Interests
    Music & piano, art & design, cognitive psychology & neuroscience
  • Gender
    Male
  1. You are projecting. You're also easy to bait. I've asked you more than just via PM. Coward x8 confirmed. Trying for Coward x9?
  2. Ask the interviewee to demonstrate the job. Inform him of this beforehand. That will tell you a lot, far more than any question you ask.
  3. Make sure they are learning. If they are, it virtually eliminates all behavioral or disciplinary problems. They'll even enjoy the class even if they dread the material. Quiz/test frequently. It doesn't have to be graded but it helps them recall the information they've learned. This can be done orally or on paper. Whatever you do, please don't engage in testing behaviors that induce testing anxiety, e.g. emphasizing "this is for a grade" or mentioning that they should get good grades. Instead, make it a point that quizzing or testing is to help them recall the material they've memorized. Examen them repeatedly on the same material until they are accurate and competent. Know the distinction between knowledge (information) and understanding. (Most teachers don't even know there is such a distinction. They think you can understand things you have no knowledge of.) Understanding can only occur after knowledge is acquired. Understanding requires thinking, a labor intensive task, so set aside time in class specifically for thinking about the information they've acquired. Something that is very difficult to do in a classroom is to apply what you've learned and knowledge and understanding is useless unless it can be applied. Otherwise, it will be forgotten. So find a way for students to apply what they've learned. Use real events or situations that they will encounter IRL. If they are successfully able to apply it, they will often retain it for life. Me, I'm a learning specialist.
  4. You either have bad memory or are lying. I know which of the two it is. It was accessible to anyone, no link required. The ball is still in your court as you still have ignored my many PMs. Coward x7. And if you bother to reply, we know how that ends. Coward x8.
  5. I first heard this piece via internet steam, no visual. I didn't think much of what I heard. Then a couple of years later is when i first saw it performed, the video above. I didn't learn the effortless technique from this video. I just realized the idea that piano playing is easy. I learned some of the technique by learning how to play this piece. That's when I discovered that how you move your body has a direct effect on something being easy or difficult. Hamelin's technique is not what I consider effortless now that I've learned a lot more about how to incorporate many parts of the body to make it easy. He relies a bit too much on his fingers to play. I stand by my statement that at this level, more practice does not equate to better performance, technically speaking.
  6. That's the same with the piano, violin, flute. Only apply the minimum amount of pressure and no more. But you said the issue is with golf elbow. None of the finger tendons extend beyond the elbow.
  7. Link me to it. You are avoiding doing that so you avoid my judgement. In the time and effort it took to make numerous replies, you could have simply linked me to them. Keep in mind that in order for me to have shared my work with you, I had uploaded them to a publicly accessible site. Anyone could have looked at them. What else you got? Coward x6.
  8. Are there any chemicals at work and at home such as fragrances? I'm allergic to the chemicals in them and get headaches if exposed too long. I also get Teflon flu from non-stick pans and cookware.
  9. @scorpiomover it was uncomfortable. I could make it work with lots of practice to build up the endurance of holding out the fingers, but why? This is piano playing, not weightlifting. But he viewed it like weightlifting: more practice=better outcome. Regardless, the technique was unnatural and required excessive focus on the body which easily took away focus on the music. This may be the reason why he was always angry after his practice sessions. He was never satisfied. When he saw me play that left hand only piece, he was impressed. But he also felt a bit of shame bc of the way I was playing it. I played like no one he's ever seen. I didn't grimace or strain my body in anyway. I made or look easy. (Grimacing is a sign that the body is strained. E.g. Lang Lang. It's a way for the body to release tension. It's a very common sight in piano competitions bc all of the competitors use inefficient movements.) When I was done playing, one of the other teachers leaned over to see if i really had just played what she heard with just one hand. She kept her expression mute until he said, "that's remarkable", and that's when she let out a smile. It was a strange feeling afterward. For the next couple of semesters until I graduated, whenever I passed them in the hallways, they didn't look at me the same way. They were more alert, more careful. The other teacher was also a bit annoyed bc she knew I was helping some of her students. How? Bc when they played something during lessons, the parts that they had trouble with, the parts that i helped them on, was clearly evident. They sounded different and moved differently, much more at ease. She stated, "Did lkso help you?!" They told me this right after their lessons. It still makes me smile thinking about it.
  10. @scorpiomover No. He did not have good technique by a long shot. He actually tried to teach all of his students his technique but no one was able to make it work. One student was so diligent that he practiced six hours a day for years... to no avail. He literally was trying to do what he was told when everyone else gave up. His nickname: "The Machine". But back to this concert pianist's playing, if you observed carefully, he had a very idiosyncratic quirk of his hands. But to me, it was a necessary quirk to release the amount of tension built up. It built up very rapidly that his hand would jerk up repeatedly to allow his fingers to curl under it. You see, he didn't just teach his students to play flat-fingered like Horowitz, he actually played like that himself. In order to play flat-fingered, you have to extend the fingers out which causes tension. Try it and hold that position for a few minutes. It doesn't take long for it to become uncomfortable, does it? Your natural tendency is to close the hands to release that tension. And this is exactly what he does repeatedly in places that wouldn't think needs that kind of showmanship. His idiosyncratic movements were viewed as a performance quirk, it made him interesting to watch, but it was actually an indication of technical issues. However, he was a very good performer. He had a very commanding stage presence. Horowitz had a child-like endearing presence but this guy intimidates you into paying attention. His musicianship was superb in some music but mediocre in others precisely bc he couldn't play it easily. He would play slowly, but commandingly (loudly), whenever he encountered such passages. Another student said of his playing, that she didn't like it, "too loud". I agree. How can a person interpret piano as mezzo forte? I just assumed it was bc he was deaf.
  11. If you believe that more practice leads to better performance, you would be wrong. While there is strong correlation in the early years of study, at the level we were at, it was a negative correlation. The students who practiced the most at our school were also the students who repeatedly injured themselves and had poor musicianship. Senior recitals were cancelled repeatedly, even student's recitals were cancelled bc this famed pianist said they "weren't ready". As for the accuracy of my story, the quotes may not be perfectly verbatim but in essence it's what he said. I think I still have the jury sheet with his recommended grade on it. ...... added to this post 19 minutes later: It's funny you should deride something you've little knowledge of. I consider myself to have expertise on technique. Few pianists, including famous ones, have effortless technique. They have to work at it and practice to maintain it. As a matter of fact, i can pretty accurately figure out how a person plays just by hearing them. I can also figure out how a person plays by what they say is easy or difficult, by the type of pain they describe, even by the mistakes they make. On numerous occasions, i have correctly diagnosed and resolved a pianists technical issues and pains based solely on their descriptions of their problems. But you're saying that how a person plays is irrelevant. You're wrong. Technique is a priori to musicianship. You cannot express what you cannot play even if your musicianship is excellent; your technique will fail you. ...... added to this post 31 minutes later: The thing is, I already knew your art was trash and i haven't even seen any of it yet. It's probably some abstract expressionism shit with broad strokes and dull colors and a significant lack of any refinement. Back when I first asked, i knew it wasn't going to be good. Why? Bc you were so defensive when i criticised other's works. You leaked your insecurities then. So you are lying when you try to pretend like my opinion doesn't matter. You want my approval. I wanted to see it anyway and offer advice on how you could improve. But how many times did i have to ask over how many months? You then started ignoring my PMs. Coward. Now you say you don't want to search your old posts for it? Coward ×2 ×3 ×4 ×5. And after all that you choose this thread to call me out. Did you forget that you're the one who is insecure?
  12. That's one possible function of a friend. If you view friendships as social currency, therapy being one form of currency and lunch buddy another, then that's not true friendship bc it's transactional; it's just currency. But a true friend transcends that. It's difficult to describe and its not something you know immediately. You only have a max of two or three in your lifetime. It doesn't seem like you've had even one yet. It also seems like the younger generation will likely have fewer than that and possibly none in their lifetimes. This is probably due to the fact that they view friendships as transactions, not relationships.
  13. When I first picked up the flute, the first thing i focused on was posture. I didn't care about making any sounds. I knew from the piano that comfort without any strain was the most important thing. This is the wrong way too play the flute: Yet this is how most flute students are taught. This causes strain in the arms, wrists, and makes fingering difficult. It's a very common problem that makes advanced performance difficult. Here is another flutist with the same issues: Look how horizontal that pipe is. That's wrong. You can imagine how much the shoulders must ache after an hour or so of practice. Instead, I focused on finding a balance of all working parts of my body. Here's an example that is much better. Also bc I wanted to include a pic of a pretty girl playing the flute: Notice how the flute is angled downward. This is to help alleviate the strain on the shoulders. Note that the head is also angled with the angle of the flute. But also important is the head nodding slightly downward. The previous two pics of the kid and the piano girl show the head facing perfectly forward. I don't know why that's wrong but it is. I'd need to pick up my flute to figure this out. Another thing is the head turns to the left to allow room to hold the flute in front of the body and not to the side. All pics show this and is the most comfortable of all possible positions. But back to that downward angle, it's just more comfortable that even non-western flutists use it: But look at exactly where his elbow is. It's resting on the side of his body. This reduces strain on the arm. The pretty girl is held out to her side a bit too much. She looks like a student, not a master. You know the Indian guy is a master bc of the red dot on his forehead. Now compare the red dot master to the kid and you see comfort vs rigidity. Masters look completely at ease. Students look strained and uncomfortable. Now if you translate this to the guitar, what you should focus on is the angle of your arms and body to get the most comfortable position possible while allowing you to finger the fret easily and comfortably. Is your fret hand curled in too much? Is that elbow closer to the body for support? Is your body turned to the right to adjust to the guitar position? Is the guitar face angled toward the sky? There are probably more things to focus on but since i don't play the guitar, it wouldn't be obvious what other issues could be problematic. It could also be the way you sit, the seat height, or the right leg step height or other things. But the issue sounds like you are over-pronating the forearm and pinching a nerve. If so, then I'd try to figure out a way to position your body to reduce that pronation.
  14. I'm calling you out on that. Where are the DMs you promised but kept on making excuses for? You didn't take pics you said. Then you say you post that shit on here. Link me to it. Someone else was right when he accused me of being scared of sharing my work. Only he didn't know i already shared some with you. What was your response? You just kept quiet bc you were the one who was guilty, not me. And I kept quiet bc I didn't want to embarrass your ass. Yeah, you know I'll be a very harsh judge which is why you avoided it. But, I already knew you were like that long before I said anything. You leak in everything you post: you're insecure about you're abilities. So link me to it. I've asked at least four times already.
  15. The point is that few flutists have good posture and they've been playing for many, many years. Few can make playing a note on the flute so quickly. You just sounds envious and i say that bc i know you. You still haven't shared your artwork with me, btw. I know why, of course. And if i picked up the guitar, you know what would happen.