Hmm. Nobody’s ever asked me to try to teach them that before, but here’s my advice:
Think about what dimensions or components success at the task will include. E.g., if you’re trying to play a song on the guitar, you might decide that a well-played song will have the correct chords played with the correct fingering and the correct rhythm.
Think about what steps are involved in each of the components of success, with an eye toward ordering those steps in terms of which steps are easiest to learn and which steps are logical prerequisites for the others. E.g., in order to learn how to play a rhythm, you first need an understanding of rhythmic concepts like beats and meters. Then, once you have a language that you can use to describe a rhythm, you need some concrete examples of rhythms, e.g., a half note followed by two quarter-notes. Then you need to translate that into the physical motions taken on the guitar, e.g., downstrokes and upstrokes with greater or lesser emphasis. Those are two different steps; first you teach the difference between a downstroke and an upstroke, and then you teach the difference between a stressed beat and an unstressed beat. You might change the order of those steps if you are working with a student who’s more comfortable with physical techniques than with language, e.g., demonstrate some rhythms first, and then only after that explain what they mean in words. In general, most values will have a vocabulary that lets you describe them, a series of examples that help you understand them, and a set of elements that constitute them; using each new word in the vocabulary and recognizing each type of example and recognizing each element and using each element is a separate step in learning the technique.
Leave some room at the end for integration, e.g., if you’ve learned rhythm and fingering and chords, you still need some time to practice using all three of those correctly at once. This may include learning how to make trade-offs among the various components, e.g., if you’ve got some very tricky fingering in one measure, maybe you simplify the chord to make that easier.
Hmm. Nobody’s ever asked me to try to teach them that before, but here’s my advice:
Think about what dimensions or components success at the task will include. E.g., if you’re trying to play a song on the guitar, you might decide that a well-played song will have the correct chords played with the correct fingering and the correct rhythm.
Think about what steps are involved in each of the components of success, with an eye toward ordering those steps in terms of which steps are easiest to learn and which steps are logical prerequisites for the others. E.g., in order to learn how to play a rhythm, you first need an understanding of rhythmic concepts like beats and meters. Then, once you have a language that you can use to describe a rhythm, you need some concrete examples of rhythms, e.g., a half note followed by two quarter-notes. Then you need to translate that into the physical motions taken on the guitar, e.g., downstrokes and upstrokes with greater or lesser emphasis. Those are two different steps; first you teach the difference between a downstroke and an upstroke, and then you teach the difference between a stressed beat and an unstressed beat. You might change the order of those steps if you are working with a student who’s more comfortable with physical techniques than with language, e.g., demonstrate some rhythms first, and then only after that explain what they mean in words. In general, most values will have a vocabulary that lets you describe them, a series of examples that help you understand them, and a set of elements that constitute them; using each new word in the vocabulary and recognizing each type of example and recognizing each element and using each element is a separate step in learning the technique.
Leave some room at the end for integration, e.g., if you’ve learned rhythm and fingering and chords, you still need some time to practice using all three of those correctly at once. This may include learning how to make trade-offs among the various components, e.g., if you’ve got some very tricky fingering in one measure, maybe you simplify the chord to make that easier.