Greetings to all the passionate music teachers!
As music aficionados, we understand the profound joy of playing an instrument — a pursuit that’s both challenging and immensely rewarding. However, conveying this love to young students can be a different tune altogether.
Today, let’s delve into the art of sight reading and how embracing flow state through sight reading can bring the joy back to the musical journey for beginners.
Mastering sight reading isn’t just about learning new music faster; it makes learning new music more fun. Fluent sight reading shortens the journey to playing notes correctly, leaving more brain space and time to focus on musicianship and expression.
Yet, traditional teaching methods often don’t teach sight reading. They focus on learning new songs instead. As the songs get harder, students’ skills don’t increase at a relative rate. Because they’re only exercising that new skill in that one specific context of that one specific song. It doesn’t become ingrained in them to the point where they can effortlessly apply the new skill when encountering it in a different piece of music.
As the gap widens, students lose motivation as pieces get harder to practice. They then spend hours repeating the same song over and over to perfection, and get bored with the slow progress, never really feeling what it’s like to be perfectly challenged by something to where it’s fun to practice it! With this way of teaching, it’s either too hard or too easy. Never right in the middle.
Enter the realm of flow state, coined by psychologist Mihaly Csikszentmihalyi. It’s that magical state of total focus and concentration, familiar to musicians during jam sessions and concerts. It’s that Goldilocks zone of “not too hard, not too easy.”
What if we applied the concept of flow to beginning music education by making sight reading the engine of learning and mastering a new skill? And what if we’re were able to start a student right where the challenge meets their skill level so that they’re concentrating and engaged for hours, but still enjoying the practice?
MuseFlow emerges as a solution that combines sight reading and flow state. It systematically teaches fundamental concepts through sight reading by ensuring that each lesson consists of new, manageable music at a specific skill level. No repetition. Instead, it’s a continuous stream of never before seen music that challenges and exercises the new skill, pushing them just beyond their comfort zone.
As their teacher, place your students in the lesson that challenges them just enough (accuracy is displayed on screen. You want to keep them right around 85% for optimum flow). Once they hit 95% accuracy and sustain that for four phrases, they’ve successfully mastered that new skill!
MuseFlow will send you weekly progress reports so you can see if they’re practicing throughout the week and how long they spend on each lesson. Once a student passes a lesson, they can immediately apply the new skills they’ve learned to fresh pieces you assign.
MuseFlow reframes the learning process so students can learn a new skill outside of a prescribed song they’d otherwise have to repeat over and over ad nauseam. They learn the new skill in a flow state, creating a positive connection between the new skill and the process of learning. Then when they apply that new skill to music that’s right at their difficulty level, they’ll be able to learn that song much faster, more thoroughly, and more enjoyably. This will allow you, their teacher, to focus on refining the fun parts like musicianship and expression in the songs you assign at their in-person lesson.
Consider this quote Kyle, one of MuseFlow’s current users:
“MuseFlow is like having a gym partner who guides you through a workout they’ve already planned out. I don’t have to spend time or energy coming up with exercises to train and wondering if it’s optimal, I can just follow along and focus solely on execution. There’s such an overload of information when it comes to learning piano that it’s so taxing (especially if you struggle with perfectionism) to come up with a routine alone. MF takes away a little bit of that decision making and it’s honestly so refreshing.”
In conclusion, combining flow state and sight reading opens a window to a richer and more enjoyable learning experience by inspiring and captivating on a fundamental level. With Museflow, we can shift from a song-first approach to the transformative combination of sight reading and a flow state-first methodology.
MuseFlow is empowering music teachers to revolutionize music education from the ground up. We, as teachers, know the benefits of music education. Now let’s bring it to every student we can.
Curious about whether MuseFlow is right for your students? Visit www.museflow.ai/teachers to schedule a demo. With a MIDI keyboard and a computer, you can try out our current version at beta.museflow.ai. We can’t wait to hear your feedback as we make music education available and engaging to all students!
Is your music practice building true fluency, or is it just training muscle memory?
When we think about how to get better at a musical instrument — or any skill-based activity — the natural strategy that comes to mind is repetition. Repeat, repeat, repeat, until you’ve finally mastered it.
This is the tried-and-true method, and is absolutely correct. As a matter of fact, that’s the whole definition of practice — “performing an activity repeatedly or regularly in order to improve or maintain one’s proficiency.”
But we need to be careful with how we approach our practice sessions. If you spend all of your time practicing specific pieces, you will eventually master those songs but you won’t necessarily have gotten better at playing music in general. Effectively, all you’ve done is train yourself to regurgitate an exact sequence of notes, without any variation. An impressive feat, to be sure, but it hasn’t increased your musical fluency at all.
Learning a musical instrument of course requires maintenance and repetition, but we have to be careful that we don’t practice old things so much that we forget to work on new things. If you only ever practice the same things, you never really grow or improve. It would be like attempting to become fluent in English by memorizing a Shakespeare monologue, and nothing else.
Brad Harrison, a composer and educator who runs an excellent music education YouTube channel, insightfully describes the difference between practice and learning. Practice is trying to get better at things you already basically know how to do. By contrast, learning is the acquisition of new knowledge or skills, and the process of becoming familiar with new material. For example, playing through a piece of music for the first time would fall under “learning,” but each repetition after that would fall under “practice.” Both steps are important, but they are focused on very different goals. Regardless of where you are in your music learning journey, it’s essential that you maintain a healthy balance between practice time and learning time.
By making a habit of learning new things, you’ll develop the meta-skill of learning how to learn. This will make you a better musician and will even help you play old repertoire better. You’ll realize that every new challenge is just a puzzle to be unlocked and understood, and you’ll have the confidence to tackle that puzzle.
If you only play the same songs over and over again, you won’t grow or improve. You’ll either get bored and quit, or you’ll get stuck when confronted with a new challenge because you only know how to do what you already know how to do. Even when you do finally master a new song, the satisfaction of learning it will eventually fade away and you’ll feel stuck again. True musical fluency is the ability to quickly learn and master whatever you want, without needing to practice it for weeks or months on end.
This brings me to an idea that I’ve been formulating over the past several years of working with music students. I think that the way we normally think about the concept of one’s skill level in a certain field needs to be expanded.
Imagine that a person’s skill level can be visualized as a vertical range, with a floor and a ceiling. The ceiling represents the level of music that a person could play well, given an indefinite (but not infinite) amount of time to practice. This could be represented by the hardest piece you’ve ever performed at a recital or competition, for example.
Alternatively, the floor represents the level of music a person could play well (not necessarily perfect, but certainly passable) on the first time they ever see it. This activity is what we call sight reading — reading on sight without any prior preparation. This could be represented by the average piece that you could find sheet music for and play today, without much practice.
Any piece of music that’s below the floor of your skill level is well within your ability to play without any practice. Any piece of music that falls somewhere between your floor and your ceiling can be reasonably mastered through dedicated practice — the closer it is to your ceiling, the longer it will take. The amount of time it would take to learn a piece in this range roughly equates to the amount of time it would take to work your way from the floor up to the difficulty level of the piece in question.
Most people spend the majority of their practice time endeavoring to raise their ceiling, tackling ever harder and harder songs that take them weeks, months, or even years to learn properly. This seems like a fine endeavor, at first glance. Ideally, by raising the ceiling of one’s ability, the floor would also rise by the same amount.
Unfortunately, this isn’t what actually happens. A person’s “floor level” is much more difficult to raise than their “ceiling level”, and it doesn’t happen automatically just by practicing more ceiling-level material. As a result, most music students don’t spend nearly enough time working on raising their floor.
The result is that a person’s ceiling moves up at a much faster rate than their floor, creating a wider and wider gap between them. This means that as they start working on more challenging material, each new song they attempt to learn will take longer and longer to master. This happens to everyone — it’s perfectly natural!
Pretty soon, practice sessions have transformed from a fun learning opportunity into a constant source of frustration and stress that takes up all of their time. Students very quickly find themselves too far outside their comfort zone, without the necessary skills to learn increasingly advanced material in a natural, stress-free way.
This is because a musician’s floor level is actually a far more accurate barometer of overall musical competency than mastery of a song that has been meticulously practiced over and over again for months. In other words, a person’s floor level represents their degree of true musical fluency.
Music lessons often focus on the ceiling of someone’s playing ability, but all professional standards for working musicians place much greater emphasis on a minimum floor threshold of musicianship. It doesn’t matter how good you are after weeks or months of practice — it matters how good you are right now, at a moment’s notice.
So it’s important that you take some time to work on pushing your floor up, even though it might seem like the musical material you’re practicing is dropping way down in complexity as a result. It doesn’t mean you’ve gotten worse, it just means that you’re focusing on a part of your musicianship that you don’t normally focus on!
So how does one actually raise the floor of their skill level then? Here are some specific areas of focus that are most helpful in improving overall musical fluency.
These five areas are what I call the fundamental “food groups” of musicianship. I’ll be going into more depth about each of these in future posts.
Building a well-rounded practice routine is important, and methods with which to do so are well-documented. That being said, it is much harder to be intentional about raising one’s floor level than you might expect.
At MuseFlow, we’re building solutions to this very problem. The app guides users through a continuous sequence of sight reading exercises, increasing complexity by one skill at a time. By constantly playing new material that they’ve never seen before, MuseFlow users have a unique opportunity to hone their ability to read and play music fluently.
In this way, our curriculum ensures a balanced approach between practice and learning. It guides you through a variety of musical challenges, preventing you from getting stuck repeating the same pieces over and over again. This diversity cultivates a well-rounded skill set, and raises the overall floor of your musical ability.
While our main focus is currently on sight reading training, we have lots of exciting new features coming later this year, including technique, music theory, and ear training exercises, as well as a repertoire library and practice assistant. Stay tuned for more updates about all that and more, coming soon!
If you’re looking for a practice tool to help you improve your musical skills, and haven’t been able to find a system that truly delivers the results you’re looking for, consider trying out MuseFlow. Just head on over to https://museflow.ai to sign up for our web app and start your 2-week free trial today.
It’s time to break free from the frustrations of repetitive practice and finally achieve the level of musical fluency you’ve been striving for. Happy playing!
Have you ever felt frustrated or bored while learning to play an instrument? This usually happens because students don’t always feel like they’re in flow state when practicing and learning — that mental zone where time seems to vanish and you become utterly absorbed in the activity. Learning to play an instrument isn’t just about mindless practice; it’s a complete brain workout! Sometimes, the mental gymnastics required to master an instrument can be challenging, pushing students to their limits.
Today, let’s delve into the fascinating world of flow state. We’ll discover how it’s reshaping the way students approach learning an instrument, and why it’s vital for nurturing young musicians who often find the journey too difficult or anxiety-ridden.
Mihaly Csikszentmihalyi’s groundbreaking work in his book Flow: The Psychology of Optimal Experience uncovered the concept of flow state. While it’s often associated with professional musicians and athletes, it can be a game-changer for budding musicians too.
Getting into flow state during music education is like unlocking a secret door to peak performance and enhanced learning. It is a state of complete concentration, where the outside world fades away and the music becomes the sole focus. It’s an optimal mental state where creativity and skill meld seamlessly, leading to a truly immersive musical experience. Flow typically occurs when the challenge of a task matches a student’s skill level. When the challenge is too low, a student might feel bored, and when it’s too high, they may become anxious.
In the world of music, entering flow state often involves selecting pieces of music that are just challenging enough to stretch a student’s ability, but not so difficult that they become frustrated. This is a lot harder than you might think, given the many variables of musical complexity within a single piece of music.
Traditional early music education isn’t all sunshine and harmonies. In fact, dropout rates among young music students are alarmingly high (~50% before they reach the age of 17). The typical grind of discipline and hard work can turn the sweet symphony of learning into a sour note.
So, how do we keep students engaged and passionate about music? The answer lies in integrating flow state into the early stages of learning an instrument. Positive feedback is also crucial. When students feel tangible progress in their education, they’re more likely to enter flow state. And when they receive praise for their efforts (not their achievements), they’re more likely to create positive feedback loops of internal motivation. This combination makes learning something new deeply engaging and gratifying.
One of the most effective ways of reaching flow state while learning an instrument is through sight reading. Sight reading is the act of reading and playing music at first sight. Sight reading pushes students to train their reading and playing skills without relying on muscle memorization, which often becomes a crutch when practicing a single song repeatedly. If the challenge is in the “Goldilocks zone” of their skill level (not too hard, not too easy), then flow state is engaged.
Sight reading, if personalized to a student’s skill level, allows them to drop into flow, immersing them in the process of learning.
Enter MuseFlow, a web app set to transform how students learn piano, especially in the early stages. Instead of assigning one piece of music which exercises many skills all at once — thus making it hard to isolate practice on a specific technique — MuseFlow guides students through new rhythms and notes in isolation first, then embeds that new skill into the rest of their musical knowledge later on, all while immersing them in a constant stream of new music.
In the first level, students learn how music is written, basic rhythms, their first note, and how that one note is played in both hands. Then, they simply start playing. The metronome sets the pace, a guiding cursor shows the next note, and they play each note on the spot while sight reading.
Rather than playing a passage of music, stopping, then repeating that same piece of music over and over again until it’s perfect, MuseFlow pushes students to keep playing no matter what. Getting stuck on previous mistakes is one of the most common ways for students to get knocked out of flow state and lose motivation. In MuseFlow, new music will continue to appear and help them hone their skills in ever-changing contexts, instead of stopping the flow to go back and repeat music they’ve already played.
This is the heart of flow state — that groove that students find themselves in, where time seems to fade away and the joy of learning takes center stage. It becomes just about passing each level, mastering each small new concept, one by one. They start to recognize those aha moments: “Oh my gosh, I’m getting it! I’m really getting it!” When they eventually pass the level, they experience a rush of dopamine and feel a sense of achievement that propels them forward on their musical journey.
Csikszentmihalyi’s research reveals that being in a state of flow can turbocharge the learning process. It’s not only about making learning more enjoyable — it also boosts information retention. By weaving flow state into MuseFlow, we’re tackling the dropout crisis head-on. When students are deeply engaged in the process of learning an instrument, it boosts their motivation, achievement, and enjoyment of learning.
Curious about what MuseFlow has to offer? Visit www.museflow.ai to find out more. If you have a MIDI keyboard and a computer, try out the beta version at www.beta.museflow.ai. We can’t wait to hear what you think and set out on this musical journey with you!
Keep up to date on our progress as we continue to add new features!