- SECOND CYCLE OF THE EXPERIMENT
Yulia’s participation in the experiment was interrupted due to her relocation abroad. As for Sole, the second cycle consisted of just six 60-minute lessons.
Report
In this second cycle, the lesson plans were designed with a more focused and structured approach, guided by the “sound, symbol, name, and instrument” model developed by Konings, Militello, Grijpink, & Wisse (2020). The aim was to strengthen the connection between hearing, singing, and playing—placing sound at the center of the learning process and reinforcing the link between the instrument. Unlike the first cycle, which explored a broader set of foundational skills, this cycle concentrated on one familiar piece: the popular song Alfonsina y el Mar, chosen for its recognition by the student, Sole.
The exercises were more refined and targeted: singing and playing the piece (modeling), echo patterns strictly tied to the key of the song, work with recordings, teacher-student duets on two pianos, and visual tasks such as drawing melodic contours and identifying patterns in the score.
One of the main contrasts with the first cycle was the decision to introduce alternative forms of singing—using “na na na” or solmisation syllables instead of lyrics. While this aimed to deepen Sole’s pitch awareness, it temporarily disrupted her fluency in playing by ear, so we chose to return to singing with lyrics to re-establish musical flow. The echo pattern exercises were much more effective this time thanks to a more limited range in the key of the song and the consistent use of the same starting pitch, which increased recognition and built confidence.
Some analytical tasks, such as identifying melodic patterns from the score, proved to be too cognitively demanding at this stage. Thanks to feedback from my critical friend, I was reminded to continue emphasizing experiential, sound-first activities over theoretical analysis. In contrast, working with audio recordings was extremely effective—both for internalizing melody and rhythm. Playing simultaneously on two pianos also proved powerful in fostering active listening and musical sensitivity.
A new element in this cycle was the introduction of the bass line. We began by recognizing and singing the bass before associating it with the circle of fifths, helping to strengthen tonal awareness and provide harmonic context. This more delayed introduction of theory—after sound and experience—helped ensure deeper internalization.
However, some challenges remain. Sole continues to struggle with distinguishing whether a pitch moves up or down, a difficulty we addressed by drawing approximate melodic contours. While this method proved helpful and accessible, it may lack precision in the long term. Another foundational issue that emerged is her difficulty in maintaining a steady pulse, which affects rhythmic stability. So far, rhythm has been addressed through perceptual means—clapping, movement, and imitation—without introducing rhythmic notation. This remains an area to strengthen going forward, in order to build a solid rhythmic base.
Compared to the first cycle, I felt far more confident and structured in my teaching, and Sole herself reported a greater sense of clarity and progress. Her daily practice has clearly paid off, and she is increasingly able to self-correct and explore music independently.
Reflections from my critical friend
Bastiaan provided encouraging and thoughtful feedback. He noted that the approach was meaningful, and that choosing a familiar piece like Alfonsina y el Mar was an excellent decision -even though its complexity can make the transition from hearing to playing more challenging. Still, Sole is managing to find her way through trial and error, which he views as a legitimate and valuable learning process.
He did caution me about introducing note names too soon, as it might hinder the development of the fast, instinctive connection between sound and action. He reinforced the positive use of recordings and reassured me that Sole’s continued difficulty with pitch direction (up/down) is not uncommon, especially given limited exposure, and that improvement will come with time and repetition. He also reflected on the natural limitations of playing by ear—not as a flaw, but as a healthy constraint that encourages memory and strengthens internal hearing.
Bastiaan reminded me of the importance of balancing challenge and comfort in teaching, and that validating the student’s struggle can be a powerful tool for growth. He also supported the flexibility to respond to Sole’s spontaneous questions, even when they fall outside the planned aural skill activities—framing this as part of a broader application of the simultaneous learning concept. His overall impression was positive: Sole is making steady progress and, most importantly, is beginning to trust her ear.
Final Thoughts
This second cycle marked a step forward in clarity, focus, and confidence for both the student and myself. While some challenges persist—such as rhythmic stability and pitch direction—the more structured approach, combined with relevant repertoire and experiential strategies, has led to meaningful progress. The thoughtful feedback from Bastiaan has been instrumental in refining my approach and ensuring the balance between theory and experience, challenge and play. Sole’s increasing autonomy and engagement suggest that the foundation for playing by ear is steadily taking root.
