[2025-11-27 at 03:54] note
its cool how drsb identifies EXACTLY the mechanistic thing to deal with (the exact actual fundamental muscle that contributes to progress) so that it can craft its exercises to target EXACTLY that with high efficiency (instead of incidentally targetting that muscle)
WHERE DID I WRITE ABT THIS BEFORE oh shit i found it [2025-07-17 at 19:51] that was 4 months ago dang
lemme copy paste that below! the frame might not make sense but the context is like . during that time i was thinking A Lot about how to reliably/reproducibly get extremely confused+untalented beginners to real fluency -- like how can we take the most confused most untalented beginner and deterministically make them fluent? and this is a nontrivial problem bc it's like . that means you can't give up if they don't get it. it means you have to make them get it somehow. i thought i was rly good at teaching math then i realized actually no, like yes i'm above average at teaching math, yes i'm above average at my personal math metalearning. but if i actually had to teach a rly confused/untalented beginner how to get rly fluent at math i'd have to teach them the fundamental mental motion that i do -- and in some sense it's just as simple as "don't just memorize the equation, make sure you rly rly visualize the story behind the equation" but in another sense it's like, the confused untalented beginner probably doesn't know what that means or how to do that bc they've literally never used that muscle before and you're gonna have to help them flex that muscle as if you were trying to help them wiggle their ear. blah blah stuff like that
anyway this note was one of my ramblings about things related to that
ok here's the note copy pasted
the problem with even chordacademy is that it doesnt talk about the specific mental motion . i think he may have the most correct model + most comprehensive exercises out of the nonhidden online programs out there, but he doesnt talk abt the specific mental motion
cuz it’s not about any exercise, and not just about a way of practicing, it’s rly more of a friendship, a way of relating to the act of music itself AND it’s an extremely specific mental motion
theyre rly doing a specific mental motion for mastery/friendship
and the ppl who r "talented" are just the ones who got lucky and discovered that muscle early on and got used to using that muscle (thereby strengthening it + also making a habit of using that muscle and not other muscles), and only a few ppl succeed cuz it's hard to discover that muscle based on random luck
the exercises can approximate/facilitate the mental motion - but at some point you have to take that mastery/friendship in your own hands
DRSB is the only pedagogical thing ive seen (or one of the only) that talks abt that AND EMPHASISES IT AS THE MAIN FUNDAMENTAL THING AND PRECISELY POINTS TO IT**** along w the exercises
**** i must emphasize how important it is to precisely point to it .. u cannot just say some willy nilly blurry fuzzy thing . u cannot just say "yes its important to FEEL the music when transcribing" U CANNOT JUST SAY THAT! or, if u say that, u must at least emphasize that that is the fundamental thing
and i love how it boils it down to fundamental core components/aspects/facets (and not just willy nilly, but like Truly** they actually are the fundamental aspects) so then you can train specifically those fundamental aspects (WHILE remembering the fundamental motion that those are aspects of ***)
** at least approximately to a high degree of accuracy cuz she actually gave it a lot of thought and tried to be comprehensive while maintaining fundamentalness
*** i.e. training to see edges (one of the aspects of Seeing) while remembering that the fundamental motion is Seeing/RH/etc
CUZ GUYS! WE HAVE TO REMEMBER THAT AS TEACHERS WE R DEALING WITH PEOPLE THAT ARE EXTREMELY UNTALENTED . which means theyre not jsut unknowledgable about the content but theyre also fundamentally unknowledgable about which muscles to even use to relate to the content!!!!!! imagine you had to learn to play a different instrument AND lost your hands so had to do it with your feet AND the sheet music was in a wildly different notation ... ITS EVEN WORSE THAN THAT! add the fact that Oh your hearing is literally Blurry .. AND WAIT ITS STILL WORSE. cuz at least you still know How to learn like even tho all ur progress is reset, and even tho ur hearing muscles are gone youll still know you have to use+find+develop your hearing muscles in a certain way ... it's literally like imagine if you forgot everything you ever knew about music. That's how a beginner is like you have to assume theyre not even at level zero but at level negative 9999999
smth smth .. mastery from the start .. idk if ive written abt this yet (if i have then probably in other terms (?)) but i think this has been in the back of my mind for a while
you wanna be a master from the start
like how kenny warner talks about being masterful with your current skills*, and how if ur not masterful w ur current skills then u wont be masterful w added skills [find quote in his book]
* i mean skills in the sense of gymnastic skills, like things you do