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by Morgan Jarchow·8 views·Updated Jan 5, 2022

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Okay
now I'm going to talk about the specific example of foot stall,
which is a sport that was invented in brazil and it is
very similar to american soccer or what other countries call football.
So football
is played on a court
and the court is commonly made out of concrete or some harder material.
Maybe it's a field of grass.
If the area and region that they're in has that available.
But it is smaller and harder,
then there's the ball, the ball is smaller as well and it is heavier,
so it's harder to control.
The players only have five per side, whereas
American soccer has 11
per side per team.
So there's less people, which means that each person is more responsible for
um scoring, defending and overall having more responsibility
and more involvement
in the game.
So all of these things
as well as being more technical are the differences between football,
some of the technical
and tricks involved um
are different
passes
and
ways to move the ball
that
create almost optical illusions
that are,
were invented in football and then now have become popular in
shocker as well.
So
all of these findings of football
are
what makes
deep practice.
So there's not just 11 players out on a grasp
and they're dribbling the ball and they're passing into each other.
That would be
simply warming up.
The football players
are constantly engaged in the game because there's only five people per side.
They have to have way more motor control because the ball is smaller and heavier
and because the court is smaller, there's less space to maneuver and move,
they have to be very precise in their aim and their kicks to make goals
here is a picture of some foot
football players, you can see the court, you can see the small heavy ball.
Um, this looks like just a practice, there's more than 10 people here.
But foot saul
and brazil,
Brazilian football specifically has become a talent
hotbed and talent hotbeds were talked about
by Daniel Coyle as places that have way more output of professionals and talented
um players
or
whatever their skill might be
way more than expected
and
it might come out of nowhere
with no warning.
So brazil is a talent hotbed for professional soccer players and Daniel Coyle
found that this was because all of the soccer players that came from Brazil
had previously learned how to play football.
So they had done deep practice to the point that soccer almost seemed easy.
Then Daniel Coyle talked about a talent hotbed
for tennis and golf and these examples portrayed
the concept of
ignition.
So first let's talk about tennis on the left side and you can see a little picture of
anna corny
corn accavitti,
Something like that. She's a Russian tennis player and in 1998 she won
some tennis matches and she was the first
Russian female player to do that. And that was in 1998 and by 2004,
um almost half of the tennis players
in these matches were then Russian, so out of nowhere,
unexpectedly there was tons of Russian players
and
the reason for this was because
ana had oriented them and given them a drive and direction
to try certain skill.
So
Russian
little girls possibly boys too,
um we're no longer interested in
chess or
certain toys
for other skills,
ana made them
want
to try tennis
and because they shared
the same culture, maybe they shared some same physical appearances,
the Children might have felt
really hopeful that they too could become a tennis professional.
A similar thing happened
with South korean females
And it also happened in 1998.
So
see re Park
was the first South korean ladies professional Golf Association winner
and
a few years later
um and even today many
of
the professional golfers
in the L. P. G. A who
win money and
do
professional golf matches
are from South Korea
and our South korean woman.
So again,
the heritage, the culture,
maybe physical appearance
made, other South korean
little girls have a sense of belonging
and want to go into golf.
Now we're gonna look at violin versus football.
So both of these skills were discussed by Coyle
to show how master coaching can be different,
but it's still rooted in the idea that you need to be building violin
by
coaching the student to get into as much
deep practice as they can and coaching the student
to continually be ignited.
Those are the two rolls of the master coach is
to facilitate the first two steps of the talent code.
So in violin, in blue on the left,
we've got the coach is doing a lot of talking,
we also have the coaches having the student do a lot of preparatory work like
holding the bow before they even get to earn or learn how to play the violin
and
coil talks about how these two things are necessary
when teaching violin
because
playing a song on the violin,
you won't necessarily know if you did
one note sharp or flat or made a small error unless the coach tells you
and
that's why the talking is needed and every time the coach talks to the student
that is
a pathway in the brain being built
and Myelin ated
and that circuit is being insulated and made stronger and faster and quicker.
They're gaining skill by their coach, giving them input.
And then for the prep coil explains that some skills are built like trees where
you need the foundation pieces built first before you can learn
some of the higher abilities involved in the skill
for foot saul on the other hand,
in green on the right,
we've got the coach is doing very little talking
and the players warming up and starting to play right away.
So almost the complete opposite
of violent
coaches,
the little talking
was explained to be
human, lotto, which
I'm assuming would translate to humility and the concept
behind that is if a soccer player is playing soccer
and they make a mistake,
they're going to naturally know it because they didn't make a goal or
they fell down or someone else has the ball now instead of them,
there's
in innate, knowing
of what to do differently.
Then
the reason that they just warm up in play is because form follows function
by
moving your muscles,
your brain is in control of those
muscles and just practicing and running and kicking
is creating those neural pathways in your brain and violating them more and more.
So both coaching methods are masterful ways of building violin,
even though they appear very different because
they're allowing the most deep practice to occur
here.
I'm going to compare the talent code
on the left two different neural plasticity principles
that rows
Had in Table 73
of his textbook.
So
the first principle was use it or lose it,
failure to drive certain functions can lead to loss.
And Daniel Coyle talked about over and over in each chapter,
that mile and growth only occurs with use and in every chapter he included his
quote, that skill is Myelin
and to build Myelin, you need to practice the skill. Use it or lose it.
Number two,
every talent is built gradually and I'm going to talk about the Claressa zone,
this is showing use it and improve it.
Training of certain brain functions can lead to improvement.
So the clearance zone,
clarinet player was playing one song and she did only a few notes at
a time until she messed up and fixed it then only a few notes.
And she used that skill over and over and
over and she improved every single time she made
an error.
Number three specificity.
The nature of the training experience dictates the nature of plasticity.
So coil gives an example of tennis without balls.
The Russian tennis players in Moscow
were
just pretending to play tennis.
They were perfecting their form before they were even able to use
the ball.
Football, precision is another
example.
You have to kick the ball in the exact angle
because the core is so small,
you have to be specific and precise
Number four repetition matters,
induction of plasticity requires sufficient repetition.
Number in coil talks about the violin holding the bow
and in violent practice. This is done for weeks
and repeated.
Number five intensity matters,
induction of plasticity requires sufficient training intensity,
Coil visited a seven week violin camp where students
only did violin practice and
had
years worth of improvement in only seven weeks because of how intense it was,
salience matters.
The training experience must be important to produce plasticity.
Ignition is the person's own desire and will to do something.
We talked about role models or praise or primal cues such as a death in the family,
something has to be important for you to want to be talented at it.
Number eight age matters.
Training induced plasticity occurs more readily and younger people this was
in rows but coil supports this as well as
Kharkov in a ted talk that talent grows the best during childhood and
this is shown in many examples
that number nine transparency plasticity in response to one
training experience can enhance acquisition of similar behaviors,
coil talked about learning skills for football, improved soccer skills
and now we have the slp application,
so S LPS can apply this
knowledge of talent and this knowledge of Myelin
by using level of proximal development,
so challenging your client and making it deep practice.
So if they
just got their sound
at the sound level,
you need to move on to words.
If they're starting to
master words before they completely have every single word down,
you need to move on to sentences,
you should always be challenging them and moving on to the next
area,
scaffolding, you need to give cues and prompts
and feedback and reinforcement,
then expectations.
Speech therapy sessions aren't gonna move quick,
your child's not gonna start and in a few weeks
have all of their sounds or all of their syntax,
but you need to expect small and slow improvements
and that's a trait of master coaching
here are my references
and overall, I thought this book was very interesting.
I liked how it wasn't based on nature and versus nurture,
like I thought it was based on Myelin
and I feel like ignition is really innate. I felt like I already knew that
a lot of people already knew about practice
makes perfect and obviously coaches are important too.
I liked how many different examples that Daniel Coyle used
and how relatable they were and as an slp,
I want to
use these
methods of levels of proximal development and queuing
and giving positive feedback to become better.
I personally have some students who I already
recognize that they need that ignition from me
to help them become better.