Introduction


The Girl Who Did a Month's Worth of Practice in Six Minutes


Every journey begins with questions, and here are three: How does a penniless Russian tennis club with one indoor court create more top-twenty women players than the entire United States?

How does a humble storefront music school in Dallas, Texas, produce Jessica Simpson, Demi Lovato, and a succession of pop music phenoms?

How does a poor, scantily educated British family in a remote village turn out three world-class writers?

Talent hotbeds are mysterious places, and the most mysterious thing about them is that they bloom without warning. The first baseball players from the tiny island of the Dominican Republic arrived in the major leagues in the 1950s; they now account for one in nine big-league players. The first South Korean woman golfer won a Ladies Professional Golf Association (LPGA) tournament in 1998; now there are fortyfive on the LPGA Tour, including eight of the top twenty money winners. In 1991 there was only one Chinese entry in the Van Cliburn piano competition; the most recent competition featured eight, a proportional leap reflected in top symphony orchestras around the world.

Media coverage tends to treat each hotbed as a singular phenomenon, but in truth they are all part of a larger, older pattern. Consider the composers of nineteenth-century Vienna, the writers of Shakespearean England, or the artists of the Italian Renaissance, during which the sleepy city of Florence, population 70,000, suddenly produced an explosion of genius that has never been seen before or since. In each case, the identical questions echo: Where does this extraordinary talent come from? How does it grow?

The answer could begin with a remarkable piece of video showing a freckle-faced thirteen-year-old girl named Clarissa. Clarissa (not her real name) was part of a study by Australian music psychologists Gary McPherson and James Renwick that tracked her progress at the clarinet for several years. Officially, the video's title isshorterclarissa3.mov,but it should have been calledThe Girl Who Did a Month's Worth of Practice in Six Minutes.

On screen, Clarissa does not look particularly talented. She wears a blue hooded sweatshirt, gym shorts, and an expression of sleepy indifference. In fact, until the six minutes captured on the video, Clarissa had been classified as a musical mediocrity. According to McPherson's aptitude tests and the testimony of her teacher, her parents, and herself, Clarissa possessed no musical gifts. She lacked a good ear; her sense of rhythm was average, her motivation subpar. (In the study's written section, she marked “because I'm supposed to” as her strongest reason for practicing.) Nonetheless, Clarissa had become famous in music-science circles. Because on an average morning McPherson's camera captured this average kid doing something distinctly un-average. In five minutes and fifty-four seconds, she accelerated her learning speed by ten times, according to McPherson's calculations. What was more, she didn't even notice.

McPherson sets up the clip for us: It's morning, Clarissa's customary time for practice, a day after her weekly lesson. She is working on a new song entitled “Golden Wedding,” a 1941 tune by jazz clarinetist Woody Herman. She's listened to the song a few times. She likes it. Now she's going to try to play it.

Clarissa draws a breath and plays two notes. Then she stops. She pulls the clarinet from her lips and stares at the paper. Her eyes narrow. She plays seven notes, the song's opening phrase. She misses the last note and immediately stops, fairly jerking the clarinet from her lips. She squints again at the music and sings the phrase softly. “Dah dah dumdah,” she says. She starts over and plays the riff from the beginning, making it a few notes farther into the song this

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Excerpted from The Talent Code: Greatness Isn't Born. It's Grown. Here's How by Daniel Coyle
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