See if you can arrange a balance between them, and remember that ultimately technique should come first and the musicality will follow. In your own teaching, what is your focus for teaching your students? Do you spend majority of time honing technique? Or do you spend to time exploring musicality? How can you create a balance between the two for your own students. The student requires firstly the technique in order for the student play something they enjoy. Ive come across many students that naturally have an ability to understand and. You will find your ability to play to be much smoother, expressive and much more enjoyable. Without musicality, there is no expression, emotion or substance to your music. Therefore, I encourage students to focus on both aspects, making technique has your first and foremost priority. If your technique is full of holes and cracks, your musicality leaks and won’t hold up. In the same way, your technique is there to hold the musicality you are expressing. If you do not have a solid flask, you cannot hope to contain the liquid you are pouring in. I like to use an illustration of technique being like a flask and musicality as liquid being poured into it this flask. However, I have come to also realise another thing.Īlthough musicality and technique are equally important, there is an order of which these two things should come. Good technique brings in good musicality, and good musicality in turn needs good technique. In my experience, and seeing my own students in their learning, these two items need to go hand in hand in order for the student to become a great musician. Listen Now Browse Radio Search Open in Music. Stream songs including 'Jujutsu Kaisen UK Drill (Gojo)'. So there definitely needs to be a balance between the two. Listen to Jujutsu Kaisen UK Drill (Gojo) - Single by Pureojuice & Musicality on Apple Music. On the contrary, I have seen students solely focussing on their technique, who end up presenting dry and unsubstantial playing – even though played technically to perfection. I’ve come across many students that naturally have an ability to understand and create musicality, but lack the ability to play it because they do not focus on their technique. How does the inter-related roles of composer-performer-instrument designer of computer music practice work together in collaboration with traditional. Without musicality, there is no expression, emotion or substance to your music. Without technique, there is no foundation or essentially the ability to play your music. This stumped me more a second, as I knew that both were equally important aspects of learning music. “What’s more important? Is it my technique or is it my musicality?” She proposed a very interesting question to me:
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