Broadly speaking, I understand there to be three general categories into which the skills of learning a musical instrument can be organized. The categories include knowledge, hand and fingers skills, and listening. These categories, while distinct, also inform and complement one another and are united by a fourth aspect – the heart. (See also Diagram tab below)

1) Knowledge: A musician must know the basic structure and characteristics of the instrument in order to understand how to play it most cooperatively and most beautifully. Knowledge of music theory is also integral for musical development and the capacity to both receive and to share music with others. Of course, there are countless other skills and pieces of knowledge that a musician develops as one grows. However, the essential point is that we must know and, in this knowing come to see, the contours of the musical terrain we are adventuring upon. This takes time, practice, patience, and a perspective that keeps the value of this knowledge present during the learning process.

2) Hand and Finger Skills: As knowledge grows, it must also be incarnated in a musician’s playing. This requires a kind of education of the hands and fingers in order to develop the capacity to play with strength, coordination, and comfort. It is in this place that finger exercises and repetitive practice come into play. As illustrated in the diagram below, one’s knowledge and technical skills complement one another and each helps to further develop the other. In this way, what we know and what we can play become increasingly aligned.

3) Listening: It may sound a bit silly, but it is common for a young musician to focus so hard on thinking about the notes and playing the right strings that we forget to listen to what we are playing! While it is true that time must be spent focusing exclusively on gaining knowledge and on hand and finger skills, a time must also come when special attention is given to listening with depth and attentiveness. This is typically why I consider listening to be the third aspect of playing, though it is by no means of least importance. It is through listening that the musicality of our playing can be developed (including dynamic and expressive playing), as well as assessing steadiness of tempo and tone. Listening is also integral for improvisation to become a truly creative and wonder-filled activity. Again, this aspect both complements and informs the other two; for it is through listening that our hand and finger skills can gain further mastery and we come to know with greater clarity how to play and write beautiful music.

4) Heart: The heart is by far the most important aspect of learning and playing music, though it often resides in the background of our thought and activity, remaining implicit though active and influential. When I speak of the heart, I am referring to that which motivates our activity and the purpose towards which the activity is aimed. As a teacher, I try to cultivate a love of beauty as one central aspect of the heart, as well as a disposition of humility and gratitude throughout the learning and playing process. More than anything else, it is the heart that will most heavily impact a musician’s capacities to cultivate and communicate beautiful music. If the heart is instead full of self-centered motivations or fears of failure or pride at being better than others, to name a few examples, the communication of true and humble beauty will be hindered even if technical skill is well developed. In contrast, love and pursuit of beauty for its own sake, gratitude for the opportunity to participate in such beauty, and a humble heart that desires to be of service to others through the gift of beauty, builds a foundation ripe for wonder, joy, communion, and love to blossom.