Adrian's Blog.

The Life and Times of a Classical Guitar Studio.

Selective Hearing.

When the idea first came to me for this blog I was sitting listening to a client testing out several of our guitars.

As I thought about why this may be of interest for a blog on a music site, I could not help but think of other areas of selective hearing and as my thoughts started to wander I started to smile.

Is this through guilt?

So what do I understand by the term "Selective Hearing"

The ability to listen to someone in conversation without hearing a word they have said.

Or:-

To sit in front of a television and not be aware of the program being shown.

Or:-

To agree that your partner’s new hair style really does suit only to find out they were asking if the dogs fur required trimming.

Yes "Selective Hearing" can loosely be described as hearing that which you want to hear and not that which is actually presented.

Learning an instrument can be a very difficult process, with pitfalls every step of the way.

We sit for many hours determined to understand everything we are taught and equally determined to grow as a musician.

As a teacher I see the effort pupils put into their studies, I also am aware of the effort I give to my own studies. Many a time I will point out where a note or a progression of notes has not been played to the best I feel the student can achieve only for the student to say "What do you mean"

Typical examples:-
One note slurring to another – Here the student will hurry the introduction of the second note destroying the rhythm and the overall effect – Why do they not hear this?
More advanced students will play fast runs of notes only to find the last few notes are just a blur with no musical expression – Are they really listening?

In both of the above examples, has the desire to achieve the correct technical prowess prevented the ear from listening, objectively?

Yesterday a young man visited who, whilst playing several of our guitars, performed Capricho Arabe by Tarrega.

In Capricho Arabe there are two areas where students invariably fall down. Well there are probably more than two but for now let’s use these two examples.
The first is bar eleven where we find a descending run of notes written in sets of:- six semiquavers, six semiquavers followed by eight semi quavers. The effect is one of a ball rolling down a hill and finally gathering momentum. Controlling the momentum requires one to be able to feel and hear the movement in the music.

The second area of concern starts in bar 41 and is a run of semi quavers, 4 to a beat, with the final surge consisting of 5 semi quavers. Our young man played these two examples at a far faster pace than I am able to, however the musical effect was lost simply because he could not hear the musical effect of his performance.

A common example of selective hearing occurs when people visit our studio to try out new guitars.

Quite often they will bring their own guitar as a comparison; this is actually quite a good idea.

Occasionally what happens is the player will try the new guitar and follow this with a comparison on their own much loved and cherished guitar.
Comments will follow such as:-
Well the new guitar is nice but look mine sounds like this – accompanied by a quick playing on their much loved guitar.

When the new and the old guitar are of similar musical ability this type of comparison is very good because it does allow one to hear and feel the different responses in an instrument.

However.

When the new instrument has a high level of ability and the older instrument is a less able student guitar this is where Selective Hearing starts to play a part in the process.

The familiarity of sound, touch, smell, all contribute to a sense of security, colouring our judgement.

From my point of view it can be very difficult to tactfully point out that their treasure does not actually have the qualities suggested and that the new instrument is far more alive.

At this point the client starts to think - sales man, higher prices, value for money.

Where I am thinking tight rope; walking on glass; not wishing to upset.

How can we avoid the pitfall that is selective hearing?

Well relative to listening when your partner is talking – Your are on your own, I refuse to be involved in offering advice on something I have not quite mastered myself and which is; An Emotional Mine Field.

Relative to playing the guitar the answer is variety within your practice.

Not just variety of pieces but also variety in approach such as:-
Can I :-
Play the melody only.
Play the bass line.
Play the bass and middle harmony.
Play the bass and middle harmony whilst --- wait for it --- singing the melody.
Attack the small section being practiced using a variety of rhythms.
And many more.

Yes as it is true that "Variety" is, the spice of life the same can be said of your progression along the performers’ road to becoming a musician.

Now if in reading any of the above you skipped a few lines and did not quite catch the meaning behind my writings then may I suggest the next time your partner engages you in conversation; have a plausible reply ready when the accusation flies - "Were You listening to Me? "

Adrian.