Archive for October, 2010

Impossible Standards

Tuesday, October 19th, 2010

(A few of the details of this story have been changed to protect the identity of the innocent,)

I had a wonderful hard-working, intelligent, student (let’s call Dream Student) who comes prepared to every lesson and is so excited to learn. Dream Student has had only a few months of lessons with me and a few months of lessons with another teacher but is right on track  and improving in leaps and bounds. What’s the problem? None with the student. Lots with the parent.  Dream Student recently entered a  “competition” and didn’t place in the top half of the winners. Part of the problem is Dream’s  flute. When Dream played my flute the difference was miraculous-but I guess not to his parents. One of Dream’s parents said, “This flute should be good enough-he didn’t place in the top half at the competition and frankly, that was well below my expectations.” Argh! Do you have to be 1st to be valued? Do you have to place at all?? Dream’s parents don’t know what a Dream Student he is!

Music Mentors

Monday, October 18th, 2010

Saturday I had a lovely masters flute student from the University of Washington sit in on 4 lessons to observe my teaching.  Donna Shin, the flute professor at the UW uses my book Making Music and Enriching Lives : A Guide For All Music Teachers as the textbook for her pedagogy classes and requires her students to observe some teachers in real life lessons.

It was fun “showing off” my students and sharing my techniques. During the lessons I pointed out several concepts I use:

* Fill each lesson with questions. Sneak extra learning into each lesson with questions such as  “What period is this composer from? Tell me everything you know about him. What does animato mean? Where do you think the breath should be? What is the climax of the phrase?  If you know that note is an appoggiatura then what does that tell you about the dynamics for the whole phrase? What chord is this? What form of the minor was that phrase in? ”

When the student makes a mistake, I stop and let them figure out what the problem was. It would be easier for me to correct every mistake but then they would only be learning to follow directions, not to become their own teacher. In addition, if something needs to be marked in the music, the student, not the teacher, should do the marking.

I use fun props to get the point across and the squealing chicken reminded one student to use good vibrato while another “got his finger cut off with a giant ax” because of a repeated wrong fingering. We all laughed but hopefully the fun prop made a real impression- better than me yelling!

If you are a new teacher starting out or even just thinking about starting a studio, I encourage you to find someone whose teaching you admire who will let you observe and give you some real world tips. And you experienced teachers, be generous with your time and support so we can have a world of better teachers and better students.

Are You There?

Tuesday, October 5th, 2010

It’s very weird writing what seems like an email to my friends and rarely hearing back. If any of you are out there reading these blogs, please give me some motivation to keep posting!

The Scary Studio

Tuesday, October 5th, 2010

My music room is haunted. Not just by the ghosts of former students who may not have survived contests, but with fun decorations. Two of my young students, Parker and Brooke helped transform it into Halloween. Paper pumpkins on the piano and a bloody hand coming out of the top of the piano, my big stuffed Pooh Bear in a Halloween sweater with a long wig, orange candles burning on the desk, battery-powered tea candles on the piano and coming down the stairs, a monster looking through the door, witches hanging from the stands. My special find this year was a skeleton playing a bone flute that sits on the desk. of course I had to get two so they could play duets. On the window hangs a skeleton with the sign “She practiced morning noon and night, scales, etudes and long tones. She worked so hard she is a fright, her fingers now just BONES.” And on the gravestone with the big RIP on the top:
“He could not count the notes or rests, and would not mark the beats. At his lesson he did not do his best, so now he
RESTS IN PEACE.” Pretty good huh? I made those up! I bought special Halloween stickers for those students with fabulous lessons and on Halloween week I will review their Flute For Life notebooks and award updated books with Halloween candy. My studio is lots of fun but it can be a scary place-especially if you haven’t practiced!

Tools to Enrich Your Studio

Tuesday, October 5th, 2010

Music lessons are about learning to play an instrument or sing-but they should be so much more! Looking back over my last couple of weeks of teaching I brought so many new ideas about music (and about life) to my students. And most of them came from my book Making Music and Having A Blast! A Guide For All Music Students. It’s the book I’ve waited years to have because it makes my life so much easier and my students’ lives so much fuller.
All my students are working their way through the music theory workbook in the book. I was terrible in music theory. I only learned what a scale was when I was in college and I sat in the back of the room in my theory classes hoping I would never be called on unless the answer was “C Major” or ” A tonic chord.” Because I know how hard theory can be (and how easily students forget it) I wrote the workbook as “theory as a second language” in small clear steps with lots of encouragement. Now even the sixth graders can make their way through theory and use it in their playing.
I try to have students bring the name of a composer and piece they’ve heard each week into the lesson and I give them a few tidbits (sometimes using my book or another book but many times just random things off the top of my head) for them to learn. This week I asked them to read the chapter, “Why Listen to Classical Music?” and “Hey. Listen to This!” which gives listening ideas.This month’s listening assignment is to go through the list on page 200 of dramatic classical music (you can hear everything on you-tube) and get to know each piece well enough so if they heard it on the radio they could say, “Hey! That’s Jupiter by Holst or I love that piece; it’s Bolero by Ravel. After they make their way in the next couple of months through that list then we are going back to review the Renaissance and Baroque Periods in the previous chapters and do more listening. It’s hard to cram everything into a lesson but this book makes bringing in music theory, history, and listening easy. In the next couple of days I’ll tell you more about how to give your students a fuller experience with little work from you. I know this may sound like a shameless plug for my book Making Music and Having A Blast! and I guess it is. But I’m really letting you in on a big secret. In the following days I’ll mention some of the other ways I’ve used the book and some other ideas to give my students a REAL education.