Thoughts -> Feelings -> Actions

As the new year unfolds, many of us may make resolutions to begin a new adventure, finish an old project, or to make progress on the path we're currently taking. While many New Year's resolutions are well-intentioned, why is it that 25% of people will give up within the first week, 50% in the first month, and only 10% of us will keep them through to the end of the year?

If experiencing success were as simple as having a thought ("I want to exercise more") and that thought led to action ("I go to the gym for three hours each week"), then everyone would succeed in their goals to create new, lasting habits. The reality is that few of us experience that success, and the reason for that is that thoughts don't directly translate to actions.

The truth is that thoughts lead to feelings first, and those feelings then govern our actions. If my thought is, "I want to exercise more", then I have to discover how I feel when I believe that thought. If I want to exercise more because I'm afraid of people judging my belly fat on the beach or because I'm not happy with my appearance, then the feelings I experience from wanting to exercise are of shame, embarrassment & self-deprecation.

When we choose to believe those thoughts and experience those feelings, what kinds of actions can we expect to come out of shame, embarrassment & self-deprecation? To put it nicely, probably not very productive ones.

The trick is to reframe our thoughts and beliefs. In the case of exercise, instead of focusing on my fears, we can choose to find the positives within that thought, such as, "I want to exercise more because I want to experience greater levels of energy, increased endorphin release (and therefore euphoria), and improve my sleep." With feelings of more energy, more endorphins, and improved sleep guiding our actions, who wouldn't work towards those benefits?

If you are setting any resolutions this year, take the time to question your reasons behind them. You may uncover feelings that may not be particularly motivating to the actions which will lead to your future success. Endeavor to place a positive spin on your thoughts which will lead to the motivating feelings which then will fuel productive actions. Here's to a happy, healthy, and productive year for ourselves and our loved ones!

Finding the Zero Point

Have you ever noticed that experts make extremely hard tasks look relatively easy? That's because they have learned how to consistently and accurately achieve the zero point - the minimum amount of effort or energy needed to successfully execute a specific function.

When we first learn something, we often over-exaggerate the energy required to be successful. Since most successes are often interpreted as a range (for example, there are many ways you could park a car into a parking space without hitting neighboring cars), we tend to choose an effort level that is safely and conservatively in-between two points we know will be unsuccessful (e.g. parking perfectly in the middle between two cars).

Think of effort as a line: on one end of the line, there is too little effort to perform the desired task, on the other end, there is too much, resulting in wasted effort. There will invariably be a range of effort levels that will all produce successful results. However, some of those effort levels will be two, three, or even four times more strenuous than the minimum amount of effort required to produce a successful result.

So, when your teacher tells you that you need to raise your right shoulder in order to access a different string, you are most likely going to figure out how much that shoulder needs to move in order to be exactly in-between both strings. However, you may be surprised to learn that an expert may move just enough to narrowly dodge the previous string, while playing the new string at an angle extremely close to the old string!

Remember, our goal during practice is to discover ways to increase our output while reducing our input. Another way to say that is that we want to produce better results by using less effort! If we no longer have to overwork in order to produce a specific result, then we can use the energy we save towards the myriad other details in a given piece.

Perhaps the most important reason for finding the zero point is to increase speed. Without having to waste energy going from one extreme to the other, we literally save the time we would have used being inefficient with our movements and transfer them into an increase in execution time. If you've ever wanted to play faster, simply find the zero point!

Setting Intentions for Stellar Results

Many of us believe that if we set aside time, take out our instrument, and choose what to focus on, that the rest of our practice will take care of itself. Unfortunately, the quality of our practice dictates how we will perform, and our disappointment with our results in lessons, recitals, competitions, or performances can often be traced back to how we prepare ourselves on a daily basis in the practice room.

Setting intentions for our practice sessions can lead to results which come much closer to what we want our actual performances to be like. While choosing an efficient time of day when our attention and focus are sure to be high and having a plan for how we will divide our time among all the pieces we will be working on are certainly important decisions, perhaps the most important thing we can do is to set our intention for the work we are about to do.

Mindfulness - When we take the time to practice, we should do so with the intent that doing so is the most important thing in our lives at that moment. To treat practice as a rite or a ceremony gives us the awareness needed to take the necessary time that is required to think through problems, generate and experiment with solutions, and to be gentle and constructive with ourselves.

Technique - Often, we get bound by fingerings or bowings which don't work for us. Set the intention to be flexible in finding answers that work for you, while respecting the composer's intentions. You may find that you have particular strengths and weaknesses, and you should capitalize on what you already know how to do well and encourage yourself to strengthen areas in which you're lacking.

Musicality - Performances full of imagination and character start with practice which ask a few simple questions: "How do I feel about this piece?" "What is the composer trying to communicate through this work?" "Are there any historical or culturally-relevant details I should be considering in my interpretation?" "What technical tools can I use to strengthen my interpretation?"

Performance - Perhaps the most valuable use of intention is in improving performances. Often, we practice with the mindset that we have unlimited re-tries. However, we only get one chance to play a performance, and if we're not acclimated to the psychological demands that come with a command performance, we may be thrown off by the sudden pressure. Use a recording device (or an audience of inanimate objects) to simulate a performance mindset.

Creating Positive Momentum

October is when young people are finally settling into the increased workload of the new school year (along with college applications) and adults are tackling the last quarter and their year-end goals. It can be a time of great productivity, but many people often feel overwhelmed.

It's important to remember that there are two basic rules which govern all human behavior: we seek pleasure and try to avoid pain. When faced with a giant "to do" list, it's much easier to go get a snack or take a break before even starting the work, leading to procrastination! This is because of deficit consciousness, which is the idea that we are choosing to experience lack instead of abundance.

Whether there are 97 more pages left to read or 27 more steps to complete on a project, deficit consciousness asks us to believe we have more left to do, and therefore, we haven't accomplished anything significant until we do so.

The secret to avoiding the procrastination and exasperation that comes from avoiding pain is to celebrate small victories. Instead of focusing on the 97 pages you have left to read, congratulate yourself on reading the three pages that you've already read! If you can read three pages, you can read three more! A small win not only feels more pleasurable, but a string of small wins creates positive momentum in your life! For more ideas, please click here!

"When Should I Change My Strings?"

Most fresh sets of strings have a playing life of about 150 - 200 hours. In general, the thicker the string, the longer its lifespan, which is why A and E strings tend to “go false” much faster than D, G and C strings.

If your strings are unraveling or tarnished, you are experiencing an unresponsive, “dead”, and muted sound; or you have trouble producing rich forte’s, clear piano’s, and resonant harmonics, then you might need new strings.

If you practice:


- 30 minutes a day = replace every 10-12 months
- 1 hour a day = replace every 5-7 months

- 90 minutes a day = replace every 3-5 months - 2 hours a day = replace every 3-4 months

In general, the thinner the string, the longer the lifespan.  Some violinists change their E-string every 6 to 8 weeks!

How to Organize Your Practice According to Galamian

One of the most celebrated violin teachers, Ivan Galamian, used to advise dividing your practice time into three categories: Building, Interpreting & Performing time.

Building time should be "devoted to overcoming technical problems and advancing one's equipment in general". This is time to find technical errors, come up with solutions, experiment with those solutions to find the best one, and then to use slow practice and repetition to entrain proper muscle memory.

Interpreting time should be "devoted to making the playing of the musical work conform to one's interpretive ideas".

Much of this work can be done away from the instrument so as not to let technical considerations influence interpretational choices.  Phrase markings, dynamics, characters & timbres are all decided during this time. 

Performing time should be "added whenever a piece is being readied for actual performance".  You should always choose a piece that has been readied both technically and musically, before you subject it to performance run-throughs.  Otherwise, you run the risk of solidifying poor habits.  You can usually use a piece that is ready for mastery.

Tabea Zimmerman's Top 6 Practice Tips

One of my favorite violists in the world is Tabea Zimmerman! By age 18, she had already won first prizes in the Geneve, Budapest and Vieux international competitions. Her ability to take standard repertoire and infuse new life into them is remarkable!

In this article from the Strad, Ms. Zimmerman reveals six ways of getting the most out of your practice. To experience her genius for yourself, take a listen to one of my favorite pieces, Schumann's Marchenbilder, op. 113, here!

2019 Reflection Essay

     Right after recital season is the perfect time to reflect on where you'd like to be by next year's recital!  It is a tradition in the Nguyen Music Studio to write a letter to your teacher documenting your answers to the following questions:

1. “One year from today, I would like to have accomplished..."

Think of specific goals such as “I would like to learn 20 pieces by next year” or “I would like to audition for and join a youth orchestra before summer”. Goals such as these not only give you something specific to work towards but also help me to establish your curriculum as we move forward. Things like specific repertoire, physical habits, mental habits, musical knowledge, musical experiences, ensembles, or auditions can be used.

2. “As a musician, something I am proud of learning or achieving this past year is...”

What is something that you are proud to have spent your time and energy doing this past year? Why does it make you feel so satisfied? Was it a big challenge you had to overcome, or was it something that came easily to you? What did you learn about yourself by doing it? Would you do it (or something like it) again?

3. “A non-musically related thing that I struggle with sometimes which prevents me from achieving my musical goals is...”

We love to play music, but sometimes school, chores, socializing, extracurricular activities, or other things can make it difficult to make time or even focus. Maybe you’re dealing with a particularly stressful situation or you may have difficulties with learning or concentrating for long periods of time. Whatever you find personally challenging, please describe it here.

4. “In a perfect world, I imagine that my music lessons would be...”

If you could have the ideal music lesson, what would it look like? How long would it be? What sorts of things would you want to work on? How would you go about learning those things? What would your ideal teacher be like? What would you want to work on during the week to help you achieve your goals? Would there be any rewards?

5. I would like to tell Ms. Quyen...

Anything and everything that you’d like to let me know, please say it here. Whether you enjoy the lessons or wish it were taught in a different style or direction, feel free to let me know so I can help you in the best way possible!     

Alternatively, you can also send your letter by email to your future self, one year from now, by visiting FutureMe.org!

2019 ASTA National Conference Recap

In line with one of our core values that ‘students need an experienced teacher who is committed to ongoing education’, I consider it a necessity to stay up to date with new advances in music education and technology so that we can keep our teaching relevant and engaging.  I was proud to be one of only two San Diego teachers who attended this year’s American String Teachers National Conference in New Mexico, and it was phenomenal! 

Over the course of four days, I attended 28 hours of seminars and workshops led by leading researchers, professors, and clinicians from Europe, South America, Canada and the US.  Topics ranged from acoustical physics and dyslexia research (and how it pertains to music), to applications of music therapy techniques, remediation, and body mapping.  I got to meet two of my heroes, Pedro de Alcantara, who spurred my journey with the Alexander Technique in my early 20’s with his book, “Indirect Procedures”, and Claire Stefani, an ergonomist who works with the Juilliard School and possibly *the* authority on chinrest and shoulder rest setup in violin and viola!

On Day 1, I took a five-hour “Deep Dive Workshop” on ‘Body Mapping: The Full Course’ with Andover Educators, Dr. Judy Palac & Jennifer Johnson.  Body mapping is an extension of Alexander Technique and seeks to educate on how the body optimally moves, which will then inform the brain on how to change our movements so that we can play more easily and expressively, while avoiding discomfort and injury.  Our hour-long segment on breathing helped me re-map my body, and it was the first time in my entire life that I actually felt I had taken a real breath!  The entire course was transformative!

On Day 2, I started my morning with Dr. Wendy Case and her talk on ‘Acoustical Physics and Advanced Violin Technique’.  While I’ll admit that some of the more advanced math went a bit over my head, I was surprised to learn of the seven different ways we can engage a string, and how doublestops, harmonics and articulation actually work on a physics level!  Next was ‘Teaching Musicality’ with Ross Harbaugh who went over the “Two Pillars of Interpretation”, secrets of “Sound Flexing & Sound Sculpting”, and the “Rule of Four” - all ways to turn a bland performance into an expressive one!  Dr. Stephen Benham and industry giant Bob Phillips taught ‘Teaching Rhythm’ which mapped the various intricacies of note reading to different hemispheres of the brain, explaining why many students have so much trouble learning to read music and perform rhythms.  Author of my favored beginning method book, “Essential Elements for Strings”, Bob Gillespie led a riveting talk on ‘Motivating the Adolescent: Research-Based Strategies for Getting Adolescents to Give Their Best’.  This was probably one of the most impactful sessions of the entire conference and really brought me closer to understanding what adolescent students need using the latest psychological and developmental research.  Last of the day was ‘Utilizing Music Therapy Techniques in Teaching Strings’ by Raquel Ravaglioli.  Music therapy has always been something I’ve been deeply passionate about, and it was helpful to see another educator’s take on using music therapy to assist our students!

On Day 3, Dr. Daniel Levitov from John Hopkins University lectured on ‘Building Musicians Through Bow Technique From the Ground Up’ -  a smorgasbord of all known bowing techniques!  A panel of professors from Oklahoma State University presented on ‘Inspiring Intrinsic Motivation in String Students Using Mindfulness Techniques’.  This was my favorite session of the entire conference and really drove home the idea that it’s our job as educators to reduce the epidemic of disconnectedness and loneliness in this new generation of young people.  Brothers Dr. Kevin Nordstrom & Dr. Stephen Nordstrom reviewed ‘Reciprocal Exercises for Switching Between the Violin and Viola’ which gave me a great prerequisite idea for how to teach shifting!  Dr. Melissa Knecht spoke on ‘Developing a Studio Class Toolbox of Ideas for Advanced String Students’ citing several groundbreaking strategies that shake up the traditional top-down routine.  Another favorite of the conference was ‘Dysmusia 2.0: Informing Music Notation Reading Through Dyslexic Research and Therapeutic Techniques’ by Dr. Elizabeth Morrow.  It was immensely interesting to see how the dyslexic brain functions and how traditional ways of teaching music reading actually exacerbate dyslexic tendencies even in  non-dyslexic learners!  The extremely polished Winifred Crock gave a masterful talk on ‘Lift Offs and Landings: Teaching “Off-String” Bowing Techniques’.  Never before have I seen such a consummate delivery of such a specific technique!  I’m definitely inspired to “up my game” as a teacher!  I ended the day with Dr. Minna Rose Chung & Hans Jorgen Jensen and their groundbreaking work on ‘Revealing the Mystery Behind Great Intonation’.  These researchers have broken the code on intonation utilizing math and physics to finally end the debate of Pytahgorean, Just & Equal Temperament systems of tuning!

On Day 4, I woke up with ‘Feldenkrais for Musicians’ with Colin Pip Dixon.  Feldenkrais is a sister system to the Alexander Technique which supports motions being delegated to the entire body instead of being focused in one singular area.  The results are dramatic!  Dr. Joanne Erwin & Joanne May presented on ‘Top 12 Actions in Paul Rolland Pedagogy’.  Rolland was the first to use science-based research in founding a movement-centered approach to stringed instrument technique.  Aerospace engineer Jeff Van Fossen and Violinist Scott Laird lectured on ‘The Art and Science of the Bow’ where they discussed four different attributes of a bow and how certain attributes are geared towards the various levels of players.  Pedro De Alcantara led a workshop on ‘Expressive Gesticulation: Breath, Space, Freedom’ wherein an unorthodox set of method acting exercises led to real changes in musical expression!  Drs. Colleen Ferguson & Stephanie Meyers did a hilarious skit in ‘Dive into Practicing: 20 Tried and True Strategies’.  Now only were their suggestions extremely helpful, but their reenactment of the teacher-student relationship was spot on!  Finally, the conference ended with the legendary Dr. Brenda Brenner detailing the remediation process used by the Indiana Jacobs School of Music’s String Academy for the past 35 years in ‘“But I Want to Play Tchaikovsky, Not Kreutzer!”: A guide to the Remedial Process’.  I’ve been using many of her ideas in the studio since I’ve returned form the conference with stellar results!

Overall, the experience of getting to learn from and network with the very best in the industry and the world is priceless, and I thank my students and parents for affording me the opportunity to keep my own skills up to date.  I’ve always aimed to be one of the best string teachers in San Diego, but one day, I hope to present at the ASTA National Conference and pass on all of the knowledge that I have been graced with to the next generation of string teachers!

Reflection & Goal Setting

     Right after recital season is the perfect time to reflect on where you'd like to be by next year's recital!  It is a tradition in the Nguyen Music Studio to write a letter to your teacher documenting your answers to the following questions:

1) One year from today, I would like to have accomplished...

     Think of specific goals such as “I would like to be in the middle of Suzuki Book 3” or “I would like to have learned and polished Bach’s entire first cello suite”.  Goals such as these not only give you something specific to work towards but also help me to establish your curriculum as we move forward.  Things like specific repertoire, physical habits, mental habits, musical knowledge, musical experiences, ensembles, auditions, etc can be used.

2) As a musician, the thing(s) I am most proud of is(are)...  Why?

     What do you feel the most skilled at?  Rhythm, intonation, tone, musicality, stage presence, theoretical knowledge, and posture/form are just some examples of what you can cite.  Also, please explain why you feel this is your best asset.  Is this because you spend more time concentrating on it?  Do you particularly enjoy it?  Does it come easily to you?

3) As a musician, the thing(s) I would most like to improve on is(are)...  Why?

     Where do you feel that you have the greatest room for improvement?  Rhythm, intonation, tone, musicality, stage presence, theoretical knowledge, and posture/form are just some examples of what you can cite.  Also, please explain why you feel that it would be important to improve on these things.  What do you think would be an effective way to go about solving your issues?

4) I feel most successful when...  Why?

     Try to explain how you best tackle challenges and come out successful.  Do you prefer smaller, easier challenges or larger, more difficult ones?  Do you find constructive criticism more useful and motivating for you or do you enjoy being praised and the positive motivation inspires you to accomplish even more?  Why do you think this is?

5) I would like to tell Ms. Quyen...

     Anything and everything that you’d like to let me know, please say it here.  Whether you enjoy the lessons or wish it were taught in a different style or direction, feel free to let me know so I can help you in the best way possible.  Also, if you feel music has helped or hurt you in any way, please feel free to share your experiences!

     Alternatively, you can also send your letter by email to your future self, one year from now, by visiting FutureMe.org!