HPS-1 – Pédagogie Holistique
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H.P.S.™

IMAGINE...

That you know a way to SOLVE YOUR INSTRUMENTAL OR VOCAL TECHNIQUE PROBLEMS...

IMAGINE...

THAT YOU CAN IMPROVE YOUR TECHNIQUE, MASTER IT PERFECTLY...

NOW, IMAGINE...

THAT YOUR PROGRESS IS ASSIMILATED AND YOUR PROBLEMS SOLVED FOREVER!

You would have the capacity to make your performances a success, to impress commissions during exams and competitions, to conquer each time audiences at auditions and concerts...

You probably think it is not possible because you are already doing everything in your power to achieve this goal. As you will discover, what I call the Holistic Pedagogical System™ (HPS) will allow you to obtain a reliable instrumental technique forever, whatever your discipline or your level. You will push your limits and thus obtain a real comfort allowing you to remain Zen, whatever the difficulties, you will feel an immense satisfaction and gain respect from your peers.

These two methods, called the « Performance Anxiety Neuronal Elimination Process™ » (PANEP) and the « Holistic Pedagogical System™ » (HPS), are based on scientific concepts borrowed from neuroscience (involving brain plasticity). Their effectiveness is proven and demonstrated by modern functional imaging devices (EEG, CT, fMRI, PETscan, scintigraphy, etc.)

Hundreds of musicians, amateurs, professionals, top-level performers have already achieved spectacular results thanks to this method based on the plasticity of the brain.

The plasticity of the brain simply means that each act of learning modifies the structure of the brain by interconnecting neurones to create so-called "neural links". But I will come back to this topic in a moment.

THE MIND, AN UNSUSPECTED POWER!

You will discover that our mind has incredible powers and can help us considerably when well used, but it can also hinder us terribly.

For example : 

When we think we won't be able to produce an action, our brain sends our nervous system specific messages limiting or suppressing our capacity to obtain this result.

Incredible, isn't it?

To be more specific,If a musician like you thinks that a musical passage is difficult to play, your brain will send specific messages to your nervous system that will prevent you (involuntarily and unconsciously) from playing this passage correctly, even if you have the physiological abilities to play it with ease. And you must know that this happens ... so that you are in agreement with your own beliefs (hence the importance of beliefs).

I am going to show you that thanks to H.P.S., you will be able to modify your "beliefs" and thus free yourself from the limits that you have unsuspectedly created.

This will not only enable you to feel more and more comfortable, but also to tackle more difficult repertoire and master it.

You will gain great self-confidence that will empower you to do things you can not imagine being capable of today. You will discover unsuspected new skills.

Note that the Holistic Pedagogical System™ is no miracle!
But it will allow you to:

    • use ALL your potential,
    • to push your limits to the maximum of your abilities
    • and express yourself instrumentaly, vocaly and musicaly with more spontaneity.

Imagine the relief and pleasure it will bring you.

You probably think I'm exaggerating?

That's normal!

For more than 30 years during my courses, conferences, workshops, etc., I have kept saying:

« I can understand that you are skeptical. If you do not believe me, it doesn't matter, just experiment, it's the best way to be convinced! »

michel1-1

My name is Michel Ricquier,
I am a professional musician and acupuncturist.

At 18 I obtained 2 first prizes at the Conservatoire National Supérieur de Musique in Paris and at 20 I got the C.A. (Certificate of Teaching Ability). After that I immediately started teaching. To solve the problems that my students were facing and allow them to improve and master their instrumental technique, I quickly realized the importance of the relationship between the brain and the body in instrumental and vocal performance.

Further studies in psychology, sophrology, traditional Chinese medicine allowed me to open an acupuncture practice a few years later.

I also practiced Yoga for 14 years, Martial Arts (Aikido) for 9 years, Tai Chi Chuan and Chi Kong...

And each time I acquired some new knowledge, I wanted to apply it to instrumental playing and pedagogy.

This is how I developed
the « Holistic Pedagogical System™ » (H.P.S.) and
the « Performance Anxiety Neuronal Elimination Process » (P.A.N.E.P.),
Two methods that enable instumentalists and singers
to improve and master their technique,
while eliminating stage fright completely and forever
.

An improved and forever reliable instrumental or vocale technique

After more than 30 years of teaching H.P.S., I can now say that the Holistic Pedagogical System is really the most effective solution for solving technics problems because it is corroborated by recent discoveries in neuroscience concerning the plasticity of brain.

As I mentioned before, the plasticity of the brain simply means that each act of learning modifies the structure of the brain by interconnecting neurones to create so-called "neural links". These links become more and more solid and trustworthy thanks to a specific neurobiological procedure. As a musician, this allows you to acquire an improved and forever reliable instrumental and vocal technique (identical results can be obtained in many other areas such as dancing, sports, acrobatic gymnastics, circus arts,  etc. etc.).

It is the brain that sends the "roadmap" to the body and directs certain muscles to work or relax in order to improve technique or increase velocity.

The exceptional efficiency of HPS is due the work being done directly at brain level (since it is the boss, the one who manages everything) and not at body level (which is merely the executant).

H.P.S. allows for optimal learning and technical mastery with the satisfaction of knowing that what is acquired is there for good.

How many times have I heard members of juries or colleagues say about a student:

"...it's a shame, he's a great musician, he has a nice phrasing, a beautiful sound, but he has no technique! He has no fingers!" !

This expression "He has no fingers" comes up frequently.

It is often used when a student fails most of his exams because of technical problems.

How many musicians say they have no technique when they could build a « breathtaking » one by working in this direction.

The « Holistic Pedagogical System™ »
is there for you.

It allows you to play
the most difficult passages flawlessly,
to succeed 100% of the time
and to gain immense reliability
in instrumental performance
.

    • You will never be afraid to miss any difficult passage during your performance,
    • Your personal work will be optimal, more efficient, faster
    • and accomplished work will be completely and permanently assimilated, both at body and mind level.

Imagine your serenity before performing when the possible idea of a "failure" is gone from your mind.

You can free yourself from the limitations you may have unconsciously created

The  Holistic Pédagogical Systèm allows you to change your "beliefs" to free yourself from the limitations you have unconsciously created.

There are 3 basic elements concerning these beliefs:

    • The way one thinks about a difficulty is more important than the difficulty itself;
      The spirit in which one approaches a problem is more important than the problem itself;
      The "intention" prior to the performance of an action is more important than the action itself.

Beliefs generate behaviors.

A study by David Whitehouse, published by the American Psychological Association demonstrates this.

« 148 British students were split into 2 groups. Half were told they were getting vodka and tonic and the other half just tonic. The research was carried out in a bar-like room equipped with

  • bartenders,
  • vodka,
  • bottles,
  • tonic bottles,
  • glasses

In reality, none were getting alcohol. The researchers had replaced alcohol in bottles of spirits, beer and wine with a simple tonic.

The bartenders prepared the drinks as if they were indeed serving alcohol and the subjects became slightly drunk.

Their bodies generated the neural signals and neurochemicals leading to behaviors seen in intoxicated people, simply because the students believed they were drinking real alcohol.

"When students were told the true nature of the experiment at the completion of the study, many were amazed that they had only received plain tonic, insisting that they had felt drunk at the time", commented the researcher before concluding that "it showed that even thinking you've been drinking affects your behaviour." »

Personal experience: panic in concert

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I will tell you a story I experienced during a concert and which demonstrates precisely what a certain "belief" or "intention" can create.

I had been hired as a soloist to perform with a chamber orchestra for a series of about 15 concerts. I was to play a concerto for piccolo trumpet, difficult because very high and tense.

Everything had been going well until the seventh concert.

I started playing my concerto, as usual, but right from the first notes I noticed that I had to employ a considerable amount of energy to get the same result as the other nights.

I don't know if this type of problem has already occurred to you, but while playing on stage in front of a packed audience, my mind wasn't focused on the interpretation of the concerto but rather trying to quickly figure out what the hell was happening.

I really had the feeling that my trumpet was blocked, so I was considering all possibilities. So while playing, I was thinking about all this and was starting to panic, for it was still very hard to play. I wondered whether this was not due to an accumulated fatigue, since we had non-stop rehearsals and concerts. Besides I was also doing many brass-trio concerts at the time. I was alternating Stravinsky's Soldier's Tale at the cornet with this concerto for piccolo.

Somedays we did a trio rehearsal in the morning and played the Soldier's Tale in the evening.

So I was faced with those constant instrument changes and switching of mouthpieces and I was thinking that my lips might just be tired, hence the difficulty to play that night. And then I panicked even more, I thought this fatigue was only going to get worse and maybe I would not be able to even finish the concert series....

And while performing my concerto, I was already wondering who could possibly replace me at a moment's notice for the next concerts  ? !

Oh Dear, it was HELL!

The concerto ends, I was playing just before the intermission, and I go backstage in anticipation for my colleagues to appear so I could ask them what they thought of my performance.

Actually, they were surprised that I should ask. They thought everything went well as usual, but I can assure you that for me it did not feel « as usual ». I swear there was an enormous difference in terms of the effort I had to produce!

So let me tell you the cause of my misery…

Backstage, after this grueling performance, I was astonished to discover that I had put on the wrong mouthpiece!

But the most interesting part of the story is that I had tried this mouthpiece at home before those concerts and concluded, after several failed attempts, that it was not good at all.

And for the good reason that I was incapable of playing the concerto's highest notes with this mouthpiece!

You cannot imagine how anguished I felt restrospectively!

If I had realized my mistake during the concert, I would have been incapable of playing my concerto properly!

So this proves my point and as I previously said « The way one thinks about a difficulty is more important than the difficulty itself ». That evening I had performed very well, because I did not know I had the wrong mouthpiece.

In this case, the "belief" or "intention" that I would be able to play like on any other night allowed me to increase my physical abilities ... in order to achieve what I logically should never have been able to accomplish during that concert.

This experience demonstrates the power of belief.

I can assure you that the simple fact of being able to change your beliefs thanks to the Holistic Pedagogy System™ will allow you to perform optimally during concerts, competitions, auditions etc...

And this will generate an incredible sens of relief and a feeling of having a "superpower".

A true story!
The Holistic Pedagogical System™ can provide a solution where medicine does not yet have one to offer

You must know that the Holistic Pedagogical System™ makes it possible to solve instrumental technique problems even when you do not know what causes them, and provide a solution when medicine remains helpless. In some cases our brain is able to do what medicine cannot; we have seen how powerful it is (since it controls everything, it's the boss, the supreme leader)!

I tell you about a story I experienced with one of my students.

At the beginning of a school year, a new student appeared in my intermediate level class who could play very well but had a major problem: he had an issue with high notes, he was unable to go above the high G.

So I naturally started checking his breathing technique, and his facial configuration, to make sure the problem wasn't coming from a lack of air pressure in the air column, a faulty lip position or mouthpiece, but everything was fine.

Trying to find a solution to this particular problem, I concluded that not being able to produce a sound above the high G, meant there was a vibration problem after a certain frequency, in some fibers of the orbicularis oris muscle of his lips.

Simply said, above the high G, part of this muscle did not vibrate any more, producing that hissing noise...

So I contacted a doctor, specialized in muscular problems of musicians who confirmed my theory and proposed to make an ultrasound in order to refine the diagnosis.

But when I asked him for solutions, he could only suggest a change of instrument.

According to him, I was to convince my student to switch over to trombone, since he would then no longer have to deal with quick vibrations and would play at much lower frequencies. However, I knew that my student, despite his problem, would never ever abandon the trumpet, so I did not discourage him with those informations, instead, I suggested intensive mental practice: Holistic Pedagogy System™ (H.P.S.).

And the result was more than convincing!

In fact, for his end of the year exam, the imposed piece contains a high C sharp double forte and a bit further, in a huge ascending phrase, a high C just as loud.

Well, I can tell you our little trumpetist played perfectly well, including the high notes.He passed his exam with high honors and congratulations of the jury. Whereas a few months before that, it would have been unthinkable for him to play this exam piece.

H.P.S. allowed the area that no longer vibrated to regain a normal and natural vibration.

Again, in this case, the exceptional efficiency of the Holistic Pedagogical System™ is due to the work being done directly at cerebral and not somatic level (the body being only the task executant).

You can imagine his exaltation, his joy:
not only did he feel tremendous relief in having found a solution when conventional medicine advised to change instrument,
but he also felt the undescribable pleasure of playing pieces perfectly that were priorily inaccessible to him,
and finally he triumphantly passed his end-of-year exam,
gaining true and genuine recognition.

Of course, this example concerns a trumpeter,
but you understand that it is adaptable to any other discipline!

Achieve a perfectly controlled and forever reliable technique

It is now proven that mental work widely used in the Holistic Pedagogy System™ provides greater efficiency than traditional work and gives access to a perfectly controlled and forever reliable technique.

Dans my training, I refer to many neuroscience studies that provide scientific, visible and objective proof (thanks to modern brain functional imaging devices) of what I am advocating.

Je quote a study by a team of Harvard University researchers showing that mental practice is as effective as real practice; and another interesting experiment, involving athletes at the US Olympic Games which clearly shows that mental practice is much more efficient than real practice.

Traditional methods of education and learning have their limits.

Despite all the efforts you have made so far, you have too often not achieved the desired results. This is normal. The reason for this limitation is that these traditional methods favour the body and not the brain.

In any learning, when performing an action for the first time, we create a connection between neurons in our prefrontal cortex (the seat of the brain of various executive functions, such as language, working memory, and more). Through repetition, we consolidate and transform this connection.

Well, the same process applies when we work on a difficult musical passage (at any level), we create a thin neural thread in our brain, tenuous and fragile at first, that will need to be reinforced, consolidated and transformed into a big, strong and resistant rope. This precise work will allow us to obtain spectacular and rapid results because (sorry for repeating myself) the work is done here directly at brain and not at body level.

With H.P.S. and the use of neural links,
learning becomes optimal
and we know that what has been acquired is there for good.

The Holistique Pedagogical System™ pushes the boundaries of traditional methods and the benefits are enormous:

  • better instrumental and vocal technique,
  • the ability to constantly push limits to the maximum of our possibilities,
  • goals reached,
  • more ease with your instrument and therefore less stress,
  • the assurance of having perfectly assimilated a difficult passage so as to never miss it again,
  • etc..

Eliminating stress and anxiety due to anticipating difficult passages

Holistic pedagogy ("holistic" comes from the Greek "holos" meaning "whole") considers the individual as a whole, globaly and therefore takes into account its physical, energetic and emotional components while seeking better harmony between them. It is essential for us musicians and especially for our technical practice.
This allows us to improve our technique and master it while obtaining better results, constantly pushing limits and going to the maximum of our possibilities. All this while eliminating stress and anxiety from anticipating difficult passages.

This Holistic Pedagogical System™ allows you to master your technique so that you don't have to constantly rework on the same pieces.

Indeed, by working differently, you get results in an extremely short time!

Let me explain...

Many professional musicians have told me that when they had to play a previously performed piece, they had to repractice it thoroughly. All the more if the interval between the two performances was important. They had the unpleasant impression that the accomplished work had disappeared and that almost everything had to be done anew!

If you had to play a song or a difficult passage you performed several years ago, would you be able to play it again perfectly by reading it through just once or twice? Or would you have to work on the difficult passages several days before?

Clarification:

This question is meant for instrumentalists of a certain level: because it is quite obvious that if you are a student with 3 years of practice and that you are asked to play a piece that you have learned 2 years ago, we can hope that you have progressed enough to play it much better without the need to rework it again.

In fact, if the difficult passages of this piece are practiced according to H.P.S. it is no longer necessary to rework them, even if it was done a very long time ago; because as I said before, what is done with HPS is assimilated and integrated forever.

Imagine your progress and the time gained by working on each difficulty according to the principles of H.P.S.

You have to know that the number of difficulties we encounter in our musical practice is not as important as one thinks.
Very often identical difficulties recur but in different contexts. And what makes the context different is simply the series of notes that precede the difficult passage or what follows it.

If the work has not been done properly, then we will be forced to rework the same sequence each time we find it in a new context.
Whereas a difficult passage, when totally assimilated in a certain context, will be played again perfectly in a new context without having to rework it.

The important thing is not the amount of time you spend practicing but the quality of your practice and the H.P.S.™ offers you precisely this unparalleled quality. You don't need to work so much but you need to work differently. This is one of the reasons you will save valuable time.

Did you know that some problems are wrongly attributed to stage fright when they are in fact "technical" problems?

Let me explain...

You have probably noticed that some mishaps occur during exams, contests, concerts, shows... while they never happen when you are alone, when no one is listening to you.

For example, you play a etude, a concerto or a piece that seems technically difficult, alone in your practice room, and you succeed every time…

You are satisfied.

But if someone enters the room to listen to you (a relative, a friend, your teacher, your colleague ...) it is no longer the same thing, you feel a certain vulnerability and you struggle with this difficult passage: it's not smooth as before!

It is therefore logical to think that apprehension and nervousness are the cause.

But if you apply the techniques to get rid of stage fright, you will find that in this case, the problem persists

And it is perfectly logical because in this case, it has nothing to do with stage fright!

The problem is that assimilation was not done correctly. In other words, even if you thought you had solved this tricky passage, in reality your technique is not 100% mastered.

On the other hand, if I asked you to play something very simple, for example the first bars of "Twinkle, twinkle little star" or something just as easy, could you imagine not playing it perfectly, even during an exam, a competition, or a concert?

Of course not!

So why is that and what's going on?

Well in the case of a simple passage or piece, you have actually acquired the necessary technique to perform it without error, even in front of other people.

On the other hand, in the case of a difficult passage, even if you thought you mastered it perfectly, adding a disruptive element (like a jury, an audience, some friends) destabilized you and proved that your instrumental or vocal technique is not yet fully mastered.

Be sure that all the difficulties you will work on following HPS principles will be fully assimilated and integrated.

They will be part of you, just like "Twinkle, twinkle little star" in a sort of database that you can draw from when necessary.

It sounds too good to be true isn't it?
And yet, it's so simple to put into practice!
You just need the right "instruction manual !

H.P.S. allows you to exploit all your possibilities in order to reach your maximum capacities

Even if you think you have a good technique, it is always possible to improve it; and who wouldn't seize such an opportunity?

Moreover, performers at the highest level are surprised to see that they have increased their virtuosity and velocity. They have acquired such reliability that they feel sure of not missing a single difficult passage from their program.

This allows them to go on performing their concerts and various commitments with confidence….

With H.P.S. you will be able to improve and master your technique, even if you have been told that you will not succeed.

Maybe you were once told: "technique: one has it or not"; and if you are in the second category, it is extremely difficult to progress, unless you put in a gigantic amount of work.

If you believe this allegation, it is dangerous because don't forget that it will be difficult for you to improve, as seen before, if your brain sends specific messages to your nervous system. It will unconsciously prevent you from progressing technically, even if you have the physiological abilities to develop a fabulous technique.

And, again, this happens so that you are in agreement with your own beliefs (hence the importance of beliefs).

This system works for everyone!

You probably think that this system works for everyone but not for you? It's normal, I'm not surprised because it's a feeling that often occurs spontaneously in many people's minds.

Don't worry, when you implement HPS, you inevitably get the expected results thanks to new neurological pathworks.

You will erase all the barriers that you have unknowingly erected, but above all create new neural links that will allow you to surpass yourself and give you a bulletproof instrumental technique.

You will take great pleasure in seeing your personal progress, but also in appreciating the positive reactions of your colleagues, your audience and so on.

The obtained results with the Holistic Pédagogical Systèm are based on solid experience for more than 30 years!

You may wonder why I'm unveiling the SPH and the PANEP just now.

In fact, I have developed them over the years, as a result of personal research and various studies I did after my musical educations.

Passionate about pedagogics and in need of solving my own stage fright, I wanted to understand the problems my students faced and help them improve and master their instrumental technique. I quickly realized the importance of the relationship between the brain and the body in instrumental playing. This prompted me to embark on further studies.

I've studied :

    • Psychology, Hypnosis (graduate of École d'hypnologie et de psychologie appliquée de Paris),
    • Natural Medicine (graduate of The Heilpraktiker Fachschule of Saarrebrück)
    • Traditional Chinese Medicine Acupuncturist  (holder of the National Diploma of Traditional Acupuncturist, graduate of the National Federation of Traditional Chinese Medicine,(graduate of The Hong Kong Institut of Chinese Acupuncture and the New Medicine Institut of Hong Kong).
    • I also practiced Yoga (14 years) and Martial Arts (Aïkido: 9 years), Tai Chi Chuan and Qi Gong...

And each time I acquired new knowledge, I always wanted to apply it to instrumental playing and pedagogy.

This allowed me to understand better the relationship between the body and the brain and to find ways to become much more efficient thanks to a better comprehension of learning processes and mental functioning.

The synthesis of all this knowledge is at the heart of the Holistic Pédagogical System™. It explains why it is much more efficient than any other traditional learning method.

These results are based on a solid work experience, since I've been teaching for more than 30 years. I have conducted courses, conferences, seminars in France and abroad, such as…

    • Teaching missions in Taipei (Taiwan)
    • Internships at European Academies
    • Conferences at various national and international congress, symposiums…
    • Conferences for the preparation of the Certificate of Aptitude for Teaching
    • Seminars for teachers, students, professionals, amateurs...
    • Etc. etc...

Hundreds of musicians
have definitively solved their problems
and achieved spectacular results
thanks to this method borrowed from neuroscience.

This applies to all levels:
amateurs, professionals, students, teachers
and also top-notch performers.

H.P.S. allows you to acquire better technique and considerable reliability; you will perform optimally in any situation, under any conditions.

During all these years, I have seen the extraordinary results obtained by many musicians who have implemented H.P.S., and it encourages me to make this pedagogical system even more known so that other musicians like you can benefit from it

With a reliable technique thanks to the Holistic Pedagogical System™, you will be able:

    • to obtain the necessary diplomas for your profession and succeed in orchestra auditions, interviews for teaching positions etc.,
    • to secure new contracts,
    • to succeed better in your performances,
    • get excellent press reviews,
    • trengthen your professional network...

It will change your life!

Moreover:

  • You will probably be inclined to perform more often, to seek opportunities instead of being (often unconsciously) tempted to avoid them!

  • You will enhance your lifestyle with these new working opportunities

  • You will perform with increased pleasure...

  • You will be so much more effective in your daily practice that you will achieve the desired results quicker and thus will have more free time to enjoy your family, friends, life!

  • You know that you can succeed but you have to find a way to lift a "barrier" that keeps you from being at the height of your possibilities.

  • You must rely on methods that have proven effective not for a few individuals but for a very large number (hundreds) of musicians of all levels.

PLEASE NOTE THAT I AGREE TO ACCOMPANY YOU THROUGHOUT YOUR TRAINING
to help you if necessary, to answer your questions
or to give you additional information if needed
.

AND THIS TRAINING IS EVOLVING!

As I am passionate about all these neuroscience related topics  (brain function, mental power, learning processes, neural plasticity etc.), you can imagine that I continuously train and read relevant scientific books and publications.

After creating this new kind of video-training, I realized that this area is in constant evolution so I would like to give you access to the latest knowledge. You will therefore automatically receive relevant and interesting messages, articles, audio or video files to complement the training.

The Holistic Pedagogical System™ is a modern pedagogical system, and as I have said many times it is based on scientific concepts borrowed from neuroscience and tested by recent medical investigation methods (medical imaging etc.).

With this significantly improved and reliable technique, you will increase your confidence and reduce your stress level.

No more frustration!


  • You will solve all your technical difficulties and thus acquire great self-confidence and more serenity.
  • You will perform with confidence, please yourself and your audience.
  • You will pass your exams and competitions with serenity and always be at the height of your abilities.
  • Your colleagues will see you differently, as a reliable person they can count on, because you will never miss a difficult passage!
  • And believe me, this is not only reassuring for you but very reassuring for them too…

Today, after all these years of practice and teaching, I can assure you of one thing: if you do nothing about it you will be continually confronted with this problem of technique, and it will become a source of constant frustration for you.

 

WHILE THERE IS SUCH A SIMPLE SOLUTION!

Copyright © 2020 Pédagogie Holistique - Michel Ricquier
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