I’ll never forget the time I accepted a transfer student who had moved to my area. She arrived with the books she had been using previously as well as all of her old lesson notes. I scanned through them quickly, took stock of where she was, and we started pretty much where her former teacher had left off. Easy peasy.
Not too long after she began I received a phone call from her former teacher; she wanted to explain why her student didn’t know certain things, why there were finger numbers written in her book, why they had skipped certain pieces, why they hadn’t got too far in her technical book… she was nervous and embarrassed that I was (in her mind) making assumptions about her studio based on this particular student.
I’ve been teaching long enough to know that basing your assumptions about a studio on one student is never accurate – and so I alleviated her concerns with my understanding of how every student is an individual with unique quirks and needs. No big deal!
Don’t Walk Out Of My Studio Without…
But it did get me thinking about the perception that other teachers may have of my students if and when they move out of town and start lessons elsewhere. What do I feel is most representative of my teaching? How would I hope another teacher would perceive my studio? And I narrowed it down to 3 main things, which have really helped to shape the way I teach. With these 3 goals in mind, my focus has become sharper and my teaching more purposeful.
1. The ability to teach yourself – My approach to new pieces is always with the end-goal of eliminating myself. Can my students “decode” a piece on their own? Do they have the confidence to give it a try without “hand holding”? Do they have the drive to work ahead, to try out new music on their own, and to work independently through challenges as best they can using the skills they’ve gained from me?
2. The ability to find freedom – I want my students to not even blink when asked to be creative at the piano – and so I work to pass on composing skills, improv skills, chording skills, and “sit-down-and-play-something” skills right from the very beginning of piano lessons.
3. The ability to be musical – Technique is important (and does actually play into musicality… just try to play beautifully with horrible fingering and fallen wrists!) but my overall focus is on inspiring my students to put a bit of themselves into everything they play. This is, after all, the goal of teaching music. We could just build piano-playing robots if we needed background dinner music with no soul… but we’re not doing tha, we’re teaching children to play the piano. And with that comes the need to give each of these children their very own musical voice.
Teach As Though Everyone Is Leaving
This is a funny statement, but it really has helped me to direct my teaching practices. I teach each and every student as though I’m going to lose him to another teacher the following week. What do I hope he takes with him? What do I hope the new teacher will observe? If you teach as though everyone is leaving, you’ll likely find that you quickly zero in on that which is most important to you. We all likely teach with goals in mind, but having that sense of immediacy and transparency is a powerful motivator to develop a laser-like focus in your approach.
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Susan McGuire says
It is truly amazing to me to see in print the philosophy and exact same thoughts that have guided me in my years with students! Sometimes when I have told the “young’uns” what I envision them being able to do if they continue through high school, their jaws have literally dropped! I have been fortunate enough over the years to have students continue that long, but always keep these thoughts going! Thank you so much for writing this!
Barbara says
I’m happy to say that I never really thought about how another teacher would perceive my studio through a former student — yay, something I don’t have an issue about:) But seeing the “3 things” is a good map to teaching. I especially like #1. That’s what I really hope for, for my students. That they can open a new piece of music and say “I’m pretty sure I can figure this out…let’s try!” They won’t be with us forever, but I hope they will play forever.
Bradley Sowash says
Nice reminder of macro goals. While all three are essential, my favorite is the creativity in #2. Andrea and Trevor are way ahead of the curve on teaching this joy-producing but often neglected skill set.
Kathy G says
I agree with your list, and have had similar thoughts myself. With incoming transfer students through the years, I have evolved from ‘WHAT was that teaching thinking/doing?!?!’ to ‘hmm, what have we here and what are we going to do about it over time?’. I got a big wake-up on this topic when I quit teaching for a lengthy period, about 25 years ago (obviously I have started up again).
All of my students were headed for transferville — with other teachers. I have to admit I panicked at the thought for some of them!
In just the last couple of weeks I have had occasion to work with three students of other teachers, in preparation for an ensemble festival my students are playing in this coming weekend. Not exactly ‘transfer’ students, but definitely a window into their learning with other teachers.
Two of the students are string players — the violinist plays in the local youth orchestra and takes private lessons, the cellist plays only the school orchestra (both kids are maybe 11). My first reaction to hearing them play their parts at our first rehearsal was ‘don’t other teachers teach their students to count, and how to keep a steady beat?!’
My ongoing reaction is ‘don’t other teachers teacher their students to count, and how to keep a steady beat?!’ LOL. I think I would have to add rhythm to your list. For me, it is more basic than your #3 (playing musically). I’ve certainly had students who played expressively but the music was so full of holes, pauses, do-overs, hiccups, etc that it wasn’t, to my mind, actual ‘music’.
The same goes for #2, though if someone is super creative and is only playing for his/her own satisfaction, no one will ever know or care about rhythm, technique, etc.
The third student studies with another piano teacher I know well, and she had the unenviable job of joining a trio of my students for a piano quartet (2 pf, 8 hds) at a 5minute rehearsal before my studio recital. And she did great! Knew her part, played musically, and was able to follow the group because she had good rhythm and a strong sense of pulse.
I know your list of 3 things is more philosophical than technical, but I’ve just got to have rhythm and pulse in there somewhere. None of the three goals on your list is worth a bean without the rhythmic heartbeat underpinning them.
Perhaps a future post might discuss the actual musical elements (rhythm, technique, etc) you consider most vital for those potential transfer students?
Very thought-provoking post. Thanks very much.
Sandra says
I agree about rhythm. It is the heartbeat of the music. (Duets are a good way to reinforce rhythmic concepts!)
Deb says
Totally agree! If kids don’ t understand or get the basics of rhythm it makes it VERY difficult!
Val Letenyei says
I have to add my amen to the comments about the necessity of good rhythm skills. I make my students “decode” the rhythm of every new piece before letting them play a single note. Rhythm is always an issue for students who transfer to me from another teacher… but I hold teachers, students and parents equally accountable because rhythm must be a part of daily practice at home as well as a focus during each lesson.
louise says
I try to leave them with the experience and joy of sharing their music with others in a respectful, grateful manner.
Leon Whitesell says
I had been teaching piano for about a year when I returned to my hometown and visited my piano teacher who had taught me from age 7 to 17 and was then well into her eighties. She had been a brilliant career teacher and had a great many successful pianists, organists, and conductors before the public.
I asked the important question: “What is the most important thing when teaching piano? And she very quickly answered “Counting and fingering!” She added “If you get these going with every pupil you will have successful students – they will respond to touch and tone, as well as style and pedaling.”
I followed her advice and have a very fulfilling career of 55 years!
Marilyn Brennan says
I LOVE this! I have already thought of this and how my students may appear to another teacher they may have someday. Keeps me on my toes. Well said.
Fiona@A Woman of Notes says
My first teacher was young and experienced. For six years I happily played all my pieces with no regard for the actual written rhythm or tempo, and with lazy fingers. Thankfully my next teacher was willing to do the hard work of re-training a teenager to actually play what was written on the page, and to develop my technique so that I was able to study music at a Conservatorium four years I was happy to compose, I played with freedom and (I think) with some musicality. I definitely taught myself to play most of my pieces, with confidence. But now I know the importance of understanding rhythm and developing technique, also. They are all inseparable, really in the development of a good musician.
Fiona@A Woman of Notes says
My first teacher was young and experienced. For six years I happily played all my pieces with no regard for the actual written rhythm or tempo, and with lazy fingers. Thankfully my next teacher was willing to do the hard work of re-training a teenager to actually play what was written on the page, and to develop my technique so that I was able to study music at a Conservatorium four years later. Before that, I was happy to compose, I played with freedom and (I think) with some musicality. I definitely taught myself to play most of my pieces, with confidence. But now I know the importance of understanding rhythm and developing technique, also. They are all inseparable, really in the development of a good musician.
Alexandra Weiss Toronto Piano Teacher says
Hi Andrea:
what level are those supplementary repertoire books?