Yes, he can, for sure, but he hasn’t the skill. The problem is in his handwork.
Spencer: It must be something going on here.
McGee: It has to do with his wrist.
Spencer: It’s like a tennis elbow.
McGee: The thumb plays a key on it, and the finger, the pinky, picks up on that. I’ve been playing cello for years. I can’t see any reason why he should be playing in a cello world that doesn’t respect the wrist.
Spencer: Maybe there’s a little bit of nerve in his hand?
McGee: That’s the only way to do it. There must be more than that. Or at least there must be more than this. There’s no other kind of arm movement that works any more.
Spencer: He’s got a lot of nerve.
McGee: He was able to take his thumb off and get this movement that’s been there all along. The fact that you can’t see it doesn’t even mean it’s there. There’s no real way to know who has what and who doesn’t. I can’t tell the difference. That’s the thing.
Spencer: I’ve been practicing too late. How did you manage that?
McGee: I learned it from listening to my son. He played for me a lot. I got hooked.
Spencer: Are you afraid he can’t play? He’s so young.
McGee: It’s not that. Not at all. I haven’t been able to teach him to listen to me at any point.
Spencer: Why can’t he listen even to you?
McGee: He’s got this whole music thing going on. He’s going all over the place. All his music has to be written by him. He’s got the music that he’s going to play.
Spencer: The music that you wrote is fantastic.
McGee: He knows it well. He uses it as his inspiration. It’s not the kind of music you write for one individual.
Spencer: Do you need to tell him to listen to you?
McGee: I can’t do that. I can just teach him.
Spencer: Do you
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