ATTN MUSICIANS: What if you could get more from your practice... in less time?

How To Play better with Less Effort & practice

by "tricking" the brain with a few simple hacks

(Cracking the Talent Code Will show you how!)

How To Play Better With Less Effort & Practice by "tricking" the brain with a few simple hacks

(Cracking the Talent Code Will show you how!)

  Watch This Video First! (Audio On!)

  Watch This Video First! (Audio On!)

Start Playing better, faster, & easier in just a few minutes a day!

Hi, I'm Gregg Goodhart...

I’ve spent a 30 year teaching career investigating the way learning really works (that we're not taught in school) and over a decade researching cognitive and 
behavioral science to understand how the brain learns best. I've spent years helping people apply these techniques to musical performance, athletics, and more.

These practical techniques have helped thousands of students and teachers achieve results they never imagined were possible.

I have compiled these lessons and techniques in a single volume, I call it Cracking the Talent Code.

I have done ALL of the difficult research and work for you... all you have to do is implement these easy-to-follow techniques inside the manual... and you will quickly see an improvement in your performances.

“This is life altering information!”

– Andrea L. Meyers  (Colorado Music Educators Association)

Inside Cracking the Talent 
Code you Will Learn


(Learning Happens 
In Your Brain)


Why Talent Is Overrated

Habit Pattern 




Real Accomplishment 
as Motivator


See what people are saying about working with Gregg...

“I love learning about how the mind works and Gregg's enthusiasm is contagious and inspiring. I’ve gained more confidence in my ability to learn. Gained hope, if you will, beyond the plateaus. I don’t anymore feel weighed down by the thought that some things will take ages to get through because the process is engaging and even fun — happy mistakes and all.”

– Tricia E.

“I’m applying this model to my jazz standards. After applying one of the techniques, it helped - I played it several times much better and at a much faster tempo. I was really pleased and that gave me confidence in moving forward.”

 – Gerry F.

“I felt uncomfortable when doing these exercises. However, I am seeing the reward when I go back and play the original piece with the metronome. My speed is picking up some, but more importantly, I am making fewer mistakes. I made improvements on most of my working pieces and am feeling encouraged using the new learning structure.”

 – Sue T.

“Success! I had an instrumental to perform at Church yesterday. Usually I am worried and reviewing it in my head up until I play it. I had done spacing and retrieval so I kept repeating to myself that I had done the work so ‘trust the process’. What happened? I played the instrumental with no issues!”

 – Stan A.

“Taking it as slow as possible to learn a tune has always been a good technique. This is the first time for shifting the context by changing rhythm. Fun! After working with Gregg I've realized how much more focus I should put on the task itself as well as choosing the task to tackle.”

 – Robert D.

“What I truly love, love, love about this process is that I’m making such phenomenal progress without investing huge amounts of time! so awesome! I’ve noticed numerous improvements in my playing that have been so sweet and satisfying and golden!”

 – Chris M.

”Thank you SO much for all your time, and precious help! . .Wow, hard to tell in words what you shared with us… Thank you for your generosity and passion about learning how to learn!“
Marie Cloutier
Parent (Bloomington, IN)
“Since his visit, I have had students stop me and tell me they have started using Mr. Goodhart’s recommended practice techniques and admit that they are working. Mr Goodhart has planted an important seed amongst our music students. We are all grateful to have had this experience.”
Bill Swick
Music Department Chair
Las Vegas Academy of the Arts
“I am profoundly appreciative of what my students gained from listening to you tonight. For me, it was a great “booster shot!” Thanks for your important (deliberate) work and thanks for your time and energy!”
Keith Robinson
Texas Lutheran University

“I think you've got something revolutionary here!”

– Dr. Evan Szu (PhD Science Education, Stanford University)

A Glance Inside the Cracking the Talent Code Manual...

 Neuroplasticity & How the Brain Learns

For many years neuroscientists believed that the brain stopped evolving and changing after critical periods of learning before adulthood. In a few landmark studies starting in the 1980s, researchers began to discover adult neuroplasticity, which was the word invented to describe the physical and functional changes that occur in the brain as a result of practice. It was not until the early 2000’s that the concept of neuroplasticity became widely accepted...

Deliberate Practice

Many of us have heard of the “10,000 hour rule” for developing expert performance, but the idea that 10,000 hours of practice can make you an expert in anything is a bit of a fabrication. 

The most impactful skill acquisition researcher was K. Anders Ericsson. Early in his career he went looking for the elusive elements of talent. Instead he found specific practices that all high achievers use. In his 1993 seminal study, “The Role Of Deliberate Practice In The Acquisition Of Expert Performance,” Ericsson and his colleagues began decades of work devoted to discovering the underlying elements involved in improving skill, whether to the highest levels or even just the next level. They named this type of skill acquisition work “deliberate practice.” Prior to this term, we used the nebulous word “talent” to describe the mystery of skill development....


The good news is that it appears the brain is designed to crave the high-level problem solving and cognition brought on by deliberate practice. After all, deliberate practice is how humanity has advanced over the course of time, but the price of the productive state of enjoyment found in flow is having to persevere through the initial unpleasant stages of acquiring basic skill.

Flow is a mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one's sense of space and time...

 Contextual Interference

Massed repetition, or repeating a particular thing that has been learned over and over again to increase skill, has been central to music performance development at every level. The classic saying among music teachers and learners is not the more popular “practice makes perfect ” mantra, but “perfect practice makes perfect.” I, like many music teachers, used that saying to drive home the idea we needed to do lots of repetitions and do them perfectly... but there is a better, quicker and easier way that gets better results!

 Retrieval Practice

We are told that massed practice is how the most dedicated and soon-to-be-accomplished players get that way. Doggedly focusing on one thing and working like crazy to improve it is what leads to progress. But then the next day our playing is almost back to square one in spite of that massed practice. We play the tune and the improvements aren’t there anymore, or even worse, we go to our lesson, or a performance, and realize we played it much better in practice.

 The Great Misunderstanding of Talent

The word “talent” is really a word that describes the mystery humankind has faced for thousands of years as to what makes some people better, smarter, or more skilled than others. Since we couldn’t find specific causes, we accepted that this superiority just kind of happens and we don’t know how. Nobody, as of yet, has been able to identify the inborn element(s) that lead to expert performance. We have, however, consistently found an amount and type of work that correlates to this level of success.  


We know that we will have to make ourselves, or our students, do some things we might normally not want to do. The most obvious is regular practice, which is difficult to build for many people, even at the upper levels of study. Other things include the effort to train attention (focus) in order to evaluate what we are doing in practice, the mental energy it takes to come up with a potential solution, the discipline to try it even if it does not work, and the mindset to accept that trial and error as normal progress. These situations are just a few of the things we need to get ourselves to do on the practice journey to becoming the player we would like.


Dr. Carol Dweck has spent over three decades researching what she calls mindset theory (2006). I describe it as why most of us can’t get out of our own way when it comes to learning. The book Make It Stick offers a very broad overview of her research:

“Dweck’s research had been triggered by her curiosity over why some people become helpless when they encounter challenges and fail at them, whereas others respond to failure by trying new strategies and redoubling their effort. She found that a fundamental difference between the two responses lies in how a person attributes failure: those who attribute failure to their own inability—“I’m not intelligent”—become helpless. Those who interpret failure as the result of insufficient effort or an ineffective strategy dig deeper and try different approaches” (Brown, et al., 2014, p. 180)

This small psychological shift in how we attribute failure shows how easy it can be to get in our own way, and she has found there are many more of these self-imposed hurdles. 

"I learned more about how I learn from Gregg than I have learned in any other single experience or from any other single teacher in my life.”

– JEAN KOH PETERS (Professor Emeritus of Law, Yale Law School)



During my long career as a musician and teacher, I have often found myself at stages where I could not get past a certain level. I'd plateau. 

Nothing I did would work. I would try harder and harder, but breaking through the plateau never got easier. 

I learned that even when we work really hard we usually miss the type of things we need to do to play confidently with ease

I found that once I learned the BEST WAY TO PRACTICE I would get on stage and my hands would move automagically to everywhere they needed to go whether I was scared as heck or not. 

As this continued I felt more and more at ease and found enjoyment in the performance.

I've spent years developing these methods and teaching thousands of musicians and students, who have achieved the same breakthroughs. 

I am excited to share them with you here.
His coaching fostered powerful inspiration...
“He offered invaluable advice on learning and practice techniques to our students through informative lectures and his uniquely insightful Practiclasses. Music students and teachers were introduced to useful new learning strategies with fresh perspectives on essential practice habits through evidence-based approaches. Mr. Goodhart brought effusive enthusiasm to his coaching and fostered powerful inspiration, which reverberates throughout the School of Music weeks after his visit.”

– Dr. Stephen Mattingly

University of Louisville, KY


When you order today, here's what you'll get...
  Cracking The Talent Code (Valued at $97)
  Access to our Facebook Community to connect with other musicians and get added support (Valued at $47)
  Bonus: Gregg's Peer Reviewed Article, Why Music Instruction Matters in Academics, published by the American String Teachers Association (Priceless)
Yours Today For Only:

Only $27!

 I think you've got something revolutionary here!  — Dr. Evan Szu, PhD Science Education, Stanford University
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