FAST Wisdom Archive

EVERY DAZZLING “SPONTANEOUS” SOLO MY STUDENTS PLAY – WHETHER IN A UNIVERSITY ENSEMBLE OR ON A BROADWAY STAGE—IS REALLY WELL PREPARED SEQUENCE THINKING IN DISGUISE: SMALL PATTERNS, PRACTISED DEEPLY, THEN RELEASED FREELY.
MG

IN MY UNIVERSITY CLASSES, I USE THE EXERCISE YOU SEE IN THIS BOOK AS FAST WARM-UPS. ONE MINUTE OF SEQUENCES AND THE HANDS WAKE UP, THE RHYTHM SETTLES IN, AND EVEN NERVOUS STUDENTS FEEL, “OH
—I CAN ACTUALLY DO THIS.” CONFIDENCE FIRST, SPEED AND COMPLEXITY LATER.
MG

IN GROUP LESSONS, I LOVE WHEN EVERY STUDENT PLAYS THE SAME PATTERN IN A DIFFERENT PLACE ON THE KEYBOARD. THE ROOM FILLS WITH LAYERED SOUND, AND BEGINNERS GET A POWERFUL MESSAGE:
YOUR SMALL PART MATTERS, AND TOGETHER WE MAKE REAL MUSIC.
MG

IN THESE SEQUENCE EXERCISES, THE FINGERING STAYS THE SAME WHILE THE SOUND CHANGES FROM KEY TO KEY. THE BRAIN WANTS TO HEAR THE SAME MELODY, BUT INSTEAD IT MEETS SOMETHING NEW—WHILE THE FINGERS KEEP CALMLY REPEATING A FAMILIAR PATTERN. THIS IS WHY THE WORK IS SO THERAPEUTIC: IT BUILDS RESILIENCE AND AGILITY IN THE NERVOUS SYSTEM. AT THE SAME TIME, THE STUDENT IS USING MULTIPLE KINDS OF MEMORY: AUDITORY (HOW IT SOUNDS), VISUAL (HOW IT LOOKS ON THE KEYBOARD OR PAGE), TACTILE (HOW IT FEELS IN THE HAND), AND COGNITIVE (THE PATTERN OF NUMBERS, LIKE 1–3–5–3, 2–5–4–2–1). THE MORE SENSES WE INVOLVE, THE STRONGER AND MORE HOLISTIC THE LEARNING BECOMES.
MG

WHEN A STUDENT HAS “FAILED” AT PIANO BEFORE, I DON’T TEST THEM—I GIVE THEM A QUICK WIN. ONE FRIENDLY PATTERN, ONE STEADY PULSE, AND PRAISE FOR EVERY CLEAR SOUND. ONCE THE NERVOUS SYSTEM RELAXES, REAL LEARNING AND CREATIVITY CAN FINALLY BEGIN.
MG

GOOD IMPROVISATION IS ALWAYS WELL-PREPARED IMPROVISATION. SEQUENCE THINKING IS PART OF YOUR TOOLBOX. THE GREAT JAZZ PIANISTS—OSCAR PETERSON, ERROLL GARNER, AND SO MANY OTHERS—PRACTISED PATTERNS FIRST, THEN USED THEM FREELY. WHEN YOUR SEQUENCES ARE READY, YOUR “SPONTANEOUS” IDEAS CAN FINALLY FLY.
MG

FOR JAZZ-MINDED STUDENTS, THOSE SAME BLUE-BOOK PATTERNS BECOME AN IMPROVISATION TOOLKIT. LEARN A SIMPLE SEQUENCE IN ONE POSITION, THEN REPEAT IT FROM NEW NOTES. YOU’RE NOT GUESSING ANYMORE— YOU’RE SHAPING IDEAS ON PURPOSE, AND YOUR SOLOS START TO SOUND INTENTIONAL.
MG

“MY WAY,” WRITTEN BY PAUL ANKA AND MADE FAMOUS BY FRANK SINATRA, IS BUILT ON SEQUENCE THINKING. THE SAME MUSICAL IDEA IS REPEATED AND SIMPLY SHIFTED HIGHER ON THE KEYS. MANY BELOVED MELODIES WORK LIKE THIS—SIMPLE PATTERNS, MOVED TO NEW STARTING NOTES, CREATING RICH EMOTIONAL IMPACT.
MG

SONGWRITING THRIVES ON REPETITION. WHEN YOU BUILD YOUR CHORUS FROM CLEAR, REPEATED PATTERNS, IT’S EASY FOR YOUR HANDS TO REMEMBER—AND EVEN EASIER FOR YOUR LISTENERS TO SING ALONG.
MG

A STRONG CHORUS IS JUST A BEAUTIFUL PATTERN REPEATED. WHEN YOUR FINGERS KNOW THE PATTERN, YOUR MEMORY RELAXES, AND YOUR AUDIENCE CAN REMEMBER AND SING YOUR SONG AFTER HEARING IT ONLY ONCE. REPEATED PATTERNS HELP MAKE SONGS FAMOUS.
MG