The Mind Over Finger Podcast - 078 Finding Your Perfect Teacher: Dr. Renée-Paule Gauthier

Starting point is 00:00:00 You're listening to The Mind Over Finger Podcast, episode number 78. Welcome to The Mind Over Finger Podcast, discussions on mindful music making, efficient practice, and building a purposeful career. And now, your host, Dr. Renée Paul Gaultier. hi everyone i hope you're doing fantastically well today in this episode i share with you the conversation i had with trevor jones on his podcast the scholarship roadmap the scholarship Roadmap is the young musicians' GPS to their musical futures, and it's Trevor's mission to guide them in finding the school that is a perfect match for them to build a vibrant career in music

Starting point is 00:00:56 without being saddled with debt. We cover a lot of ground in this 40-minute conversation, including the importance of finding the right teacher for you, developing an efficient practicing system and excellent awareness, why practicing slowly isn't enough, how to find comfort in your performance, how to reverse engineer your audition preparation, and finally, we dig into the relationship musicians have with constructive criticism. I had a great time speaking with Trevor, and I hope you find tons of value in our discussion. Let's go to the show. people are told practice slowly what does that mean so some people just go in the practice room and they play stuff slowly that doesn't mean they're learning anything that does definitely

Starting point is 00:02:00 doesn't mean they're developing the right habits because you can play slowly and poorly at the same time. Hello, and welcome to episode five of the Scholarship Roadmap podcast. The Scholarship Roadmap is an online program for student musicians pursuing degrees and careers in music. I am Trevor Jones, the founder of the Scholarship Roadmap. I designed this program for student musicians, parents, and anyone seeking clarity in the college music school preparation process. This podcast features the voices of professional musicians, musician entrepreneurs, and student musicians. Our theme for episode 5 through 8 is, What Teachers Should I Study With in Music School? Today, my guest is Dr. Rene Paul Gautier.

Starting point is 00:02:48 Rene is a violinist based in Chicago and performs with Lyric Opera, Joffrey Ballet, Elgin Symphony, and the Chicago Philharmonic. Renee is the String Area Coordinator, Co-Director of the Chamber Music Program, and Violin Instructor at North Park University in Chicago. Renee hosts the Mind Over Finger podcast, currently in its third season, and it focuses on mindful music making, efficient practice, and building a purposeful career. Renee is currently enrolling the second round of her program, Music Mastery Experience. The three-month experience, open to professionals, student musicians, and passionate amateurs, begins September 21st, and in it you'll discover how to implement mindful and effective practice techniques, make them habits, and get results. I really love this discussion with Renee. She digs into so many great ideas. If you are looking for a way to structure your practice sessions, a way to practice, and what to look for in a teacher and how they can help you with those topics, this is the conversation for you. Enjoy this

Starting point is 00:04:00 conversation with Renee Paul Gautier. I want to start out discussing your musical training. So specifically, how did your musical training prepare you for your life's path and both directly in music and then indirectly in non-musical activities? Thanks for asking. And I could even say that I was extremely fortunate in my schooling and who I ended up studying with and talking with colleagues. it's not the case for every musician so when I look at what you're doing and you and I have been talking about you know your your program and the work that you do and what you provide to students is so important because I am one of the fortunate who has had wonderful experiences with teachers and ended up you know going to the schools that were great for me and I hear so many horror stories out there from colleagues, also from teachers or young professionals entering

Starting point is 00:05:04 the world. And, you know, I think that what you're providing is so necessary, so important, because without that guidance, it's not always obvious. And sometimes we have guidance by well-meaning people who are not always in tune, no pun intended, to what we need. So I think that having the information and the insight that you provide is so important. So I want to put that out there because I see it all the time, how difficult it can be to navigate these roads and find that. So anyway, to answer your question, finally, I started studying the violin at a young age. And then at the age of nine, I started with a teacher who was so wonderful in always guiding me to listen better and explore and he was such a huge music lover and extremely just a brilliant

Starting point is 00:05:58 brilliant brilliant mind and my mother would always practice with me so for me I would go and have these you know amazing lessons with him who is so enthusiastic and just kind of jumping up and down and you know yelling and so inspiring and not yelling at me but just being like so ecstatic about music in general and just be like yeah yeah this is great do you hear this and um then i would go home and have two three hour a day lessons with my mother who was not a violinist she was a pianist but she was a musician and she would take home you know you know notes actually she would carry you remember the big boom boxes they were super big bad guys would take that to my lessons and record lessons and take notes so that's kind of how my whole mindful practice was

Starting point is 00:06:48 born without me knowing about it and I realized when I went to college then I was left to my own devices and started practicing on my own that I would have two kinds of practice I had the everyday practice just you know turning on the the timer and being like clocking in time and then I would have the kind of practice where it's like an hour before the lesson or an hour before the rehearsal or a week before the competition and they were not the same and that got me really curious more and more as the years went on and as I became a professional where you have to give out results like this day after day and developed subsequently tools so that I could save time then becoming a mother even more time is necessary and seeing my students struggle with

Starting point is 00:07:43 this lack of awareness sometimes you don't have the methods on how to practice and other times not only do you not have the you know practicing systems and methods but you don't even know how to pay attention how to listen how to you know how to experience playing music and identify and assess what you're doing. So all of this put together got me to do some really serious introspection and research when I was doing my doctoral studies and really kind of elaborate a system that has been very successful with my students and helping them develop this awareness and some practicing tips and audition performance preparation. So yeah, it's been a journey that started you know very young very young I would say one word that I see you speak about and write

Starting point is 00:08:36 about all the time is intentional so I would love to hear you speak about what you mean when you say intentional practice so I would bring it back to the word presence and intentional as well in terms of knowing what you're after having a clear idea of what you want to hear what you're trying to accomplish in the practice room i think that's so often people you know they for example people are told practice slowly what does that mean so some people just go in the practice room and they play stuff slowly that doesn't mean they're learning anything that does definitely doesn't mean they're developing the right habits because you can play slowly and poorly at the same time so what does it mean to be intentional I think is really to pay attention be curious as the same

Starting point is 00:09:40 time having some very clear goals as to what you're after and then there's a whole other dimension of self-compassion because sometimes it takes a long time to get where we want to be so it's it's all of these things but intentional I think would probably start with having an idea of where you want to be but then also really pay attention and I don't like the word scrutinize so much but I would say maybe really observe keenly everything that you're experiencing not just what you're hearing but what you're seeing and what you're feeling and that would be both emotionally and physically what you're feeling. My students who are, say, in high school and preparing for college auditions, you sometimes see, you know, the pressure is ratcheting up. Oh, God, I have

Starting point is 00:10:33 this audition, it's impending, or, you know, I have five to seven auditions, and they're coming up, you know, we're in early September now. And so they're coming up in January and February and march and there's so much pressure because they're going to determine potentially what we're going to do with the next four years of our life and let's say you're a student musician and you've just never really dug much deeper than i just need to practice more i just need to play my instrument every single day i don't really have a goal i'm just going to play every day what are some kind of first steps that you would give to a student in this situation who's trying to make a deeper and more meaningful progress in their practicing? Yes. So if I am to give you a mini music mastery

Starting point is 00:11:24 experience here, I would say really start by finding a system to keep track of your progress. because for some people it's too vague and music making can be very abstract. So I would find a way to make it concrete that works for you. And in general, I'm a strong advocate of practice journals. I'm less so of those that are pre-guided. You know what I mean? I think that it's important for you to figure out, do you like to write long sentences or are you someone who likes chart with numbers or do you actually prefer text for some repertoire technique or excerpts or do you prefer charts for other it could be a combination of both so I would say finding the time to figure out how do I like to keep track of my progress start incorporating

Starting point is 00:12:20 recording a lot in your practice so that's the first thing that they could do I mean first is get the music put it in the binder don't just have flying photocopies going everywhere and losing half of them that drives me crazy so put in the binder but then look at your timeline how much time do you have and if it's something that they've already started working on i would say do a take today just record everything and assess where you are and one thing i like to ask my my coaching clients to do and my students also is record it and give yourself a grade on everything on your level of comfort so not necessarily how you think it was on a scale from one to ten but maybe how it felt on a scale from one to ten and subsequently listen to it and give yourself

Starting point is 00:13:16 another grade to see how effective you think that was or maybe based on how prepared do you want it to be? What does it sound like on the recording? And it's really interesting to see the two numbers comparing. If they're close, that's a good sign. And if they're not, that gives us so many clues as to where all the work should be focused a lot in the beginnings. And then I would say, I'm a big fan of reverse engineering. So right, when is the audition? Well, make sure that you give yourself some time to relax if it's a college audition you'll need to be traveling so don't plan on the three days before the audition to be practicing because you're going to be going somewhere and you know trying to find a sandwich somewhere at 10 p.m on the highway

Starting point is 00:14:08 and then schedule also mock auditions lessons all of that stuff ahead of time and one other thing that you could do is set milestones as to you know where in the process do you want to feel with all of your repertoire are you playing stuff by memory well it'd be a great idea if it was all memorized six weeks ahead of time that would be that'd be something i would put in the calendar for example like all memorized by that date and then there there's just a multitude of practicing techniques i really uh well love the of course i love it i developed the deep practice model is what i use with my students and basically in the nutshell what it is is when you get to the the deep practice part where it's really a passage you're trying to learn or

Starting point is 00:15:06 something you're really struggling with is to go through the process of chunking mapping then learning it. And I really use ongoing memorization as the catalyst there to make everything learned at a deep level. So you would take these five lines that you're struggling with. I'm trying to think of a bass excerpt, but I don't have many coming to mind right now. I haven't sat through many bass auditions in my life. But you know, like if you take a five line passage, I don't think you should practice maybe the all five lines at the same time and you could just chunk it take a small i like to call it bite size because that's something that you can take chew it then you're going to be able to swallow it if it's too big you're going to choke on it so you need to choose

Starting point is 00:15:53 something that is bite size map it what i mean by that is just notice what's happening in this passage some fingerings bowings what is it is it a scale is it a chord progression are there some patterns are there articulation all these things and then you put it through these drills of there's a lot of techniques we cover all of this in the music master experience like tons of slow work techniques and fast work techniques and then performance techniques and then you get it to a playing level but then as you get closer to that performance that you want to start incorporating a lot more performance practice playing run-throughs or not necessarily run-throughs of the whole piece but maybe of sections more frequently throughout the practice

Starting point is 00:16:42 and really really make performing part of your practice i mean an example i give is you could even put a timer that goes off every 15 minutes and every 15 minutes perform something for yourself but you don't you can't stop or you know it's just it's a performance and put yourself in there simon fisher was a violin pedagogue a wonderful pedagogue who wrote many wonderful technique books for violin was a guest on the mind over finger podcast and he used that term that i'm going to use from now on and he calls it spotlight performing just wherever you are whatever the time of day you just it's like you turn on the spotlight and you just perform whether it's a measure or a whole movement you just it's that little spotlight moment where you put yourself in

Starting point is 00:17:33 this mindset of i am now performing so i mean that was a long answer to your question but uh and it just gives you a general idea but those are a few things that i would do that is wonderful i think if anybody listened to that answer, they could have an entire strategy for how to move forward towards their college auditions. I love the point that you brought up about how does it feel after you practice something? Because even if you record something and let's say it sounds passable, it's not amazing, it's not terrible, it's somewhere in the middle, but you just felt very uncomfortable. Maybe you had a lot of tension in your left shoulder or your right hand. That ultimately isn't how you want to perform. You don't want to go to these

Starting point is 00:18:29 college auditions or any audition and perform with a lot of tension. So that kind of having that goalpost of is this comfortable can really inform where you need to go next with your practice, what you need to check in on with your teacher. Hey, my right hand is just feeling very tense. Do you have any suggestions on what I can do? Also, because I'm practicing bite-sized pieces of music, it only happens in these eight measures. That's where it's really getting in trouble. And by taking that sort of active approach in your practice, you and your teacher can get to the core of what the problem is much more quickly. Absolutely. And it does, it has a second, sorry, I'm having a French moment here. English is not my first language. So sometimes I start

Starting point is 00:19:21 a sentence in French and I can't get out of it in English. The second benefit of paying attention to how you feel is that sometimes we don't feel good as we're performing something. And that starts to really play tricks on us because we don't feel good we think it sounds terrible and then we tense even more and we start to have this internal chatter that is so destructive where it takes us away so much from how we perform because we're not feeling great and sometimes that's why i was saying the numbers if they compare is great if they're similar it gives you clues if they're not it also gives you clues because sometimes you could perform an excerpt and feel like a two. And then you listen to it and you're thinking, huh, well, kind of

Starting point is 00:20:08 sounds like a five or six. So that's so funny. So despite me not feeling great, probably because I'm working too hard, I can still make it sound like pretty good. So if you're in the middle of a performance and you feel really, well, I shouldn't say bad, but let's say you don't feel as comfortable as you would like to, you can still find some comfort in thinking, you know what, this passage, I never feel great, but it still sounds good. So I can just not worry about it, just keep going in a couple measures and feel better. So it had this added benefit of also quieting our mind when we realize that ultimately, we would love to feel amazing at all times. But there are also ways that we could actually still perform at a really high level while momentarily

Starting point is 00:20:59 you're not feeling amazing. The opposite is also true. So if you feel amazing and it doesn't sound great, well, chances are you're not listening hard enough. Very true. So this entire approach to practicing, I find just having an approach to practicing is something that you just see so many people, and not just students, professionals, passionate amateurs, whoever, they don't really have a way that they practice. It's, well, I start out with long tones, I play scales, arpeggios, I play excerpts, and then I play some solo stuff, and I've kind of hit everything. But that's a structure of repertoire that you're going to practice, but it's not necessarily a method. So I wonder, I feel like one of the most important components when a student is looking

Starting point is 00:21:58 for a teacher at the collegiate level is that they need to look for someone that really helps them develop a method of practicing. So I imagine you agree with that, but I wonder if there are any other qualities that you think are, that are just absolutely crucial that somebody looks for in a instructor? Yes. And that's such a tricky question because everyone will have different opinions on how a teacher makes them feel. And that's why, you know, I remember being at Eastman and people would transfer out of my studio. And I know why, because I love my Eastman teacher, Mr. Zeitlin, but he was old school hard, and he was yelling at me. But at that time, I sort of had the insight that, you know what, I have a lot to learn from him.

Starting point is 00:22:55 I have a lot to learn from him, and that's just his style, and if I can live with it, I'll learn a lot. But it was not as great for some other students. So it depends so much of where you are also, what you respond to. I would say sample lessons definitely help with this. And think about it. I mean, our teachers, they give us so many amazing notions, but even if you walk out of the lesson with one golden nugget already there, that's worth the whole lesson. even just one amazing concept that you could ponder on for hours or weeks or years i think

Starting point is 00:23:40 we've all had these moments where you graduate and then five years later you're like oh i get it like what he said what do you say i finally get it took me five years i get it um so i think that we really have to both i want to make sure i say this in the right way we have to pay attention to our intuition yet at the same time look at ourselves very objectively and say i really want to feel great about this teacher but he says things i don't like and i don't feel good about that so do you not feel good about that because it's it doesn't match how you learn at all and you can see a problem long term or maybe you're not open to constructive criticism so what's tricky though is that we know there are some teachers out there who you know pass the line

Starting point is 00:24:40 and the constructive criticism becomes destructive criticism and that's not what you want but I've also seen some students who are just really not open-minded to the instruction that's being offered so there's a little bit of both a big concept in the deep practice model is this beginner's mind and it's this idea that sometimes when we feel like we're an expert we're close minded to ideas and we need to keep this enthusiasm that the beginners have they want to know everything and they're open to soak up all of the information so we need to keep that in mind as well that sometimes a teacher is going to ask us to explore an avenue that we're not familiar with and it could be a source of great insight knowledge inspiration so are we open to these

Starting point is 00:25:38 things so but other times there's a voice inside of us that tells us it could be the opposite right this teacher is famous everybody loves him he's or her and all her students are amazing they all get jobs and but you just walk away from lessons with this person feeling so sad and depleted despite trying your best to be open-minded so it there's a little bit of both so we need to make sure we're sorry i'm repeating myself but i feel like it's so important that there's part listening to intuition so hard just paying attention to what the little voice inside says at the same time keeping yourself in check and saying well my my being too easy on myself or Or am I just sad when I hear criticism?

Starting point is 00:26:31 And am I open-minded to what this person could teach me? So I don't have a perfect answer for you. I don't know if there is a checklist that one, maybe you provide that. I don't know. It's not easy. No, I think that is such a great way of summing it up because there always is that little voice.

Starting point is 00:26:53 I remember it so well when I took trial lessons with my principal instructors. And, you know, when you walk away with that nugget, or in my case, I felt like I walked away with, you know, 15 or 20 nuggets after a one-hour lesson. I thought, I have to study with this person for four years. There's no way I can't. But I think it's also such a great point of going in and being open. and let's say if you have a little bit of a visceral reaction to something that an instructor says it's really important to understand where that's coming from and did the instructor say it

Starting point is 00:27:31 give the feedback in a way that was unkind because obviously being unkind is not something I think anyone seeks in lessons but there's a difference between being unkind and just saying something very honestly. Also, if you're having trouble taking constructive criticism, that's not going to bode well for post-college either. So this kind of transitions to the other side of the coin then. When people audition for you and you are considering them for your studio, what qualities are you looking for in students? Funny enough, one of the first one would be, are they teachable? are they open-minded to what i have to say how do they respond and not so much in terms of can they execute right away but can i see that they're trying and you teach too so you know what i'm

Starting point is 00:28:23 talking about when we see when they're trying whether or not there's an immediate result we see that the person is really thinking about it and they're trying and they're responding to what you're teaching they're paying attention so that's um that's definitely I would say one of the first one that I look into and you know it's so different from person to person a level of enthusiasm for what they're doing is something I love to see in a student how open-minded are they to what I can teach and how will they apply themselves in trying to execute it if they're not open to the teacher's input i what's the point yes like what what are what are we even doing here and oh sorry to interrupt because i remember one time someone was actually taking it that's a good example they were

Starting point is 00:29:20 taking a simple lesson from me and i explained something and they were not really successful in achieving it and then at some point i was trying to figure out if i should move on to something else. And she looked at me and she was like, I really want to understand this. Can you repeat it again? And I was like, Oh, yes, I'm so happy you're asking this question. And you're voicing out that you don't quite understand. Because keep in mind, I still I don't know her yet. I don't know how she learns yet. So maybe she's extremely visual. Or she needs to see it and hear it several times or she needs it to be explained very in detail. So the more you help your teacher guide you in your learning experience

Starting point is 00:30:06 by talking in your lessons, asking questions, when you don't understand, that's something that you need to voice out so that the teacher can then adapt their teaching to respond to what your needs are. Because we do our best and sometimes you feel like you've expressed a concept very clearly but if you've been very specific with the details and you're talking to a visual learner and you haven't quite demonstrated it enough when they say it can you show me then you're so happy to do it i love when a student tells me what they need and

Starting point is 00:30:44 they ask questions so this was one of my favorite moment when she asked that because i was like yes yes yes okay let's figure this out and then i tried to explain a bunch of different ways and she started getting it. And it was such a beautiful moment. So I would say that also like voice out what you need to your teacher. I love that so much. And I've been in that situation as well. And I'm curious, you performed as a concert master, that concept, like imagine a conductor is, you know, looking at you and saying, you know, Renee, we need this phrase to be like this. And if you respond in a way that is feigning that you understand, then you play it in a way that the conductor does not want that's a big problem i i imagine you've been in the position

Starting point is 00:31:29 maybe where a conductor said something to you and you don't know exactly what they're looking for has that come up oh yes it happens yes yes and you know it's sometimes it's caused because you are maybe well sometimes in my case too i mean not so much anymore but you know now that my english is good sometimes you just literally do not understand the words that doesn't happen so much anymore but sometimes they don't want to spend too much time there because there's a whole orchestra so they explain it very quickly maybe you're distracted by someone talking behind you know what i mean i think like it's the same kind of thing then what's important to do is go talk to the conductor at at the break and be like i don't think i got that very quickly because

Starting point is 00:32:13 if it's exactly what you say if they ask for something and you pretend you you know pretend you're going to do it and then do it like it kills the magic and makes it no fun for anybody i play a lots of musical theater and when you sub for someone for instance and they're you know you have a massive amount of music you're trying to play it the way they play it because that's your job and if they explain something to you and it's not clear and you just keep nodding your head and then you don't play it the way it's supposed to be played it's a huge problem so this skill that Renee dug into of being able to communicate with your teacher if you don't understand something and then working in tandem with the teacher to make sure that they are explaining

Starting point is 00:32:58 it in a way or demonstrating it in a way that makes sense to you, that will lead to a much deeper relationship with your teacher that will ultimately serve you the best. I mean, I have an example of that if you give me 30 seconds and I go back to Mr. Zeitlin because I love this man so much and see it illustrates where his teaching style might have not fit some people but there's you know legions of us who just adore him and this was a few months after I started studying with him and you know this was a lesson I think he might have yelled particularly loud that day or something and my thing though is I never wanted to cry in the lessons I might have cried a few times after but um and you know I was kind of defeated but I don't

Starting point is 00:33:46 like leaving defeated without saying something so I told him I said Mr. Zylin I just feel like my plan keeps getting worse and worse and worse I didn't want to say you're yelling more today and then I just saw like the humanity in this man just kind of awakened and he came you know he walked towards me put his hand on my and patted me on the shoulder with like this kindness and this love in his ears in his eyes and then his ears and and he was looking at me as though I was he was just about to tell me a great secret and he did because he looked at me and he said no you're not getting worse and worse you're hearing better and better and in that moment it reframed all of his yelling to feel like he's angry at me to he sees something that could come

Starting point is 00:34:39 out and it's not coming out and he wants it to come out and I understood in that moment I mean just talking about it now I get emotional again but the the look in his eyes when he was telling me this because he was so excited to share that with me like you're hearing better and better and I think that I'm so happy that I spoke up at the end of that lesson because I was just going to walk out defeated and but I decided to share it with him and and then it turned out to be a moment where I really understood something very powerful is that sometimes we feel like we're in the middle of a setback and that goes back to also beginner's mind too because sometimes when you're trying to change something in your playing you have to surrender a little bit and you feel

Starting point is 00:35:25 as though your playing is not as good but what's actually happening is that you're strengthening a skill but because it's unfamiliar it's perceived as your skill as diminished when you're actually strengthening it and then it will soar eventually. But there are times when you feel defeated because you're starting to understand or hear or see new things and that may appear as a setback and then you realize, no, it's not. Like this is what happens when massive progress is about to happen. So anyway, I just love this story for what it taught me, but also the fact that like teachers are human and sometimes when you really try to connect with them at the human level you find these treasures of wisdom in inside and um yeah so for me i mean i just love the men what

Starting point is 00:36:20 can you do and um but when you have a hard time creating this connection with the teacher of course that that can be a telltale sign as well first of all that is an incredibly beautiful story I think what can be so challenging about that is, are we going to get there in a single lesson, in a single trial lesson? So in some ways, when you're looking for instructors, there is a little bit of a leap of faith. And, you know, what we were talking about, I mean, yeah, you can look at the results of the studio and what other students are saying and everything. but if you do get that trial lesson how do you feel in that what's that little voice saying having a a story like that in the trial lesson probably the odds of that happening are pretty low because there's been so much trust built over over um lesson after lesson what are some

Starting point is 00:37:18 of the most common mistakes that you see in auditions and this not not just in auditions for your studio but any auditions that you're sitting on as as part of the audition committee first of all i think for the students to feel like the people in the panel are listening with i don't know if there's an expression in english with this but we're yes critical because we're trying to assess but we want you to do so well so there's no one sitting there with in french you have an expression that you know no one's sitting there with a brick waiting to throw it at you this is not what's happening so for people to walk in the audition room knowing that people sitting behind this table they're rooting for you and sometimes you get distracted because they

Starting point is 00:38:13 you know you see the panel they're writing things down they're not making eye contact with you never take that personally because they're seeing a lot of people that day they're probably running behind in their notes. So they're trying to write as quickly as they can. They're pulling your resume out, trying to figure out who you are. So, so always know that regardless of the appearances of the committee looks busy, if they're looking at you, not looking at you, whatever is going on, they're always on your side. Uh, the second thing is to play in, instead of focusing on what you're doing in the moment is asking yourself what they want to hear. And then as you play, you start to second guess yourself because you're not sure that what you do is pleasing for them. I would say just

Starting point is 00:39:00 trust your own work and show them who you are. And yes, play in tune, in time and in tone when need that. But also play as beautifully as you can with as much conviction as you can. And do not try to guess what you think they want to hear so these two things together i think um really help for a performance that's more enjoyable for the you know the performer and also for the people sitting in the behind the the table and i would say just walk in with a big smile make eye contact just you know feel happy to be there it's a beautiful moment i love that so much the trust your own work and show them who you are i think one thing that i coach my students and clients to do is choosing repertoire that obviously needs to satisfy the

Starting point is 00:39:58 requirements that are being asked by the teacher the studio the school but they also need to show the best parts of you as an artist and your musicianship and so when we get into this mindset of guessing, well, I wonder, I wonder what Dr. Gauthier wants to hear me play in this audition. Don't, let's not start there. Dr. Renee Paul Gauthier, thank you so much for being here today. And be sure to listen to Renee's podcast, the Mind Over Finger podcast, and check out her second round of Music Mastery Experience, which is currently enrolling and beginning on September 21st. Thanks for listening to this episode. If you'd like more of this content, visit thescholarshiproadmap.com.

Starting point is 00:40:45 Connect with me on Instagram and Facebook at The Scholarship Roadmap. Subscribe to this podcast and get in touch with me at trevor at thescholarshiproadmap.com. And if you'd like to discuss your musical future, book a call. No charge, no commitment. Thanks, and I'll talk to you soon. Thank you guys so much for listening. I hope you enjoyed this chat with Trevor Jones from The Scholarship Roadmap. If you relate to this conversation, get in touch with us and let's keep this discussion going.

Starting point is 00:41:29 I am MindOverFinger on both Instagram and Facebook, and he's The Scholarship Roadmap. And if you're a young musician thinking about a career in music, I strongly encourage you to check out the Scholarship Roadmap program at ScholarshipRoadmap.com. Trevor has years of experience working with young musicians and helping them find the perfect school match for them, and he can help you find yours. The program will assess your needs, align them with the right school and teacher, and focus your attention on the fundamentals of the music school preparation process. Trevor will provide you with all the tools and resources that will bring clarity to your school search and empower you to make decisions that will best serve you. So check out the scholarship roadmap. As always, I'll have all the information related to this episode in the show notes. You can find them via your podcast app or by visiting mindoverfinger.com, where you can also

Starting point is 00:42:33 find more information about mindful, efficient practice and performance preparation. And while you're there, sign up for my newsletter and receive your free guide to a super productive, mindful practice using the metronome. Finally, I hope to see you in the Mind Over Finger tribe. That's my private Facebook group where I pop in once a week to talk about mindful practice and answer your questions. It's a great community and you can find it at facebook.com slash groups slash Mind Over Finger tribe. So that's it for today. Again, thank you and à bientôt. Thank you for watching!

The Mind Over Finger Podcast - 078 Finding Your Perfect Teacher: Dr. Renée-Paule Gauthier

There aren't comments yet for this episode. Click on any sentence in the transcript to leave a comment.