Would you say playing (or singing) music is more mental or more physical? Student (and teacher) perceptions of this can color how we practice and play an instrument (including the vocal chords).

Do we mentally make fingers do what they need to do, or physically drill them so they do the work for us? How we balance the ebb and flow between mental and physical tells a lot about how we and our students practice and learn.

[Before we discuss this, I want to invite you to review teacher comments by Sherie, Chris, and an extensive response from Toby, all on Payments & Cancellation Policies; from Betty on How to Get Connected; and a controversy presented by Jeff commenting on Finding Students For You, with explanations by two online companies represented by Brian and Steve.]

Below are some student examples, and maybe a surprise conclusion, which I hope provide food for thought. I don’t have scientific answers about the balance of mental and physical in playing music, but by thinking about this, we certainly can benefit in terms of practical ideas for learning and teaching.

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I read an interesting post today by a teacher who was so frustrated about her student’s that she was in tears. Many of the subsequent posters were sympathetic and offered sympathies equal to “it isn’t the teacher’s fault if the children don’t practice, the parents are always on the cell phone,” blah, blah, blah!

Not wanting to steal John Stossel’s thunder “Give me a break!” this teacher has thirty seven students that are performing in the recital and she is focused on the few that can’t make it or are not doing well.

Students are like clay - they need to be molded and shaped. It is true the parents can be the biggest influence, but to pass the buck solely to the parents, and have a pity party for one teacher is just not reasonable.

My son’s music teacher is far more inspiring than I have ever been and he garners so much respect from the children he teaches that it is actually the children leading the charge to practice. 

As far as parents at lessons talking on cell phones, this probably has little or nothing to do with the student practicing, and at this point, is just an accelerant to the already present frustration.

Teachers should make it their resolve to bring the lessons to life, be inspiring and most of all be inspired. Remember what made music your first love. I doubt that any of us are playing instruments because our parents nagged us so enthusiastically that we just couldn’t wait to play again. My brother and I are still grounded in two sates as a result of refusing to practice. He plays three instruments and composes music and I play both the radio and the piano.

There is a saying in football “Any given Sunday, any team can win!” This is true on every day for every student. On any given day any student can become inspired.

To all of the frustrated teachers who feel that the parents are not pitching in, the students aren’t practicing and they are just plain discouraged, I say “Carpe Diem!”

Make today the day that you handle your student’s challenges with grace and view them as opportunities not obstacles!

I have been reviewing lots of forum postings lately and came across an interesting posting. There seems to be a debate about how to approach informing a student’s family about their need to upgrade their instrument. I can certainly see the logic in the student needing an instrument to progress. I can also see the logic in using tact and speaking to the parents in a tactful fashion, and not speaking through the child.

At some point in the debate the teacher says a few things that I found alarming: More…

We all understand that practice leads to perfection. The issue at hand is how to encourage our students to practice with enthusiasm instead of viewing the practice sessions as a chore. My first experience with Classical Music was Peter and the Wolf. I was not excited to be attending this performance and was saddened that there would be no speaking, actual animals or cartoons on this particular outing. I remember asking my mother “Do I Have to go with you?”

Much to my surprise I left the performance with the desire to create my own orchestra. Somewhere during the performance the music had captured me and the instruments had come alive. I often Get to listen to classical music and frequently to Peter and the Wolf. It has been thirty years since my first enchantment with an orchestra and not even one detail escapes me. Here are some widely known readily forgotten tips to inspire students:

1. Suggest more frequent shorter practice sessions
2. Encourage parents to spend time listening to the child practice
3. Suggest that parents compliment the child instead of criticize
4. Reward the child with the option of selecting a particular piece of music if the practicing improves
5. Ask the student what type of music they prefer and create a common bond between what they listen to and what they play
6. Suggest that parents take the student to live performances featuring the instrument the child plays if at all possible. Colleges or conservatories often have recitals or inexpensive performances through out the year.
7. Include the child in goal setting on a regular basis

It can be difficult to motivate the reluctant student. Motivation is different for each student, once you find the motivating factor for the child you can change practicing from a “Have To” to a “Get To” with a little encouragement.

When you play music, how do you think about the beat?  Musicians often think of the beat note as the beginning of something, probably because of written music.  After all, the beat note begins every measure, and beamed notes usually connect the beat note with those that follow.

But is that how we hear it?  Is that how we play it?  Maybe most revealing, is that how we sing it?  Not really.  But I suspect that whichever way we think about this can make a big difference in how we play, practice, and teach music. 

Think of the sentence, “The cat climbed up to the top of the tree.”  If you wrote the rhythm of this sentence in music, it would look like this:

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Connie, from Connie’s Violin Page, has recently archived several sets of informal surveys from music teachers around the world.

I found it very interesting to see what other teachers in different parts of the world charge for lessons, what their practicing habits are, and what students think makes a good teacher.

Take a look at the results! Maybe you’ll find something useful to help you in your own studio. More…

Do you provide practice charts to your students? Do you have them make their own charts? Or do you have them mark their practicing into a lesson book?

Sometimes I use charts, and would like to use them more often. They’re very helpful for many students. We all know that practice results in progress, but having a written record of practicing rewards us with concrete evidence of having put in the time.

My motto about practicing is, “The more you play, the better you get; and the more you play correctly, the faster you get better.”

Not everyone would agree with me. Some feel that if you play a lot with bad habits, you’ll get worse. But I think that if someone plays a lot, it’s because they enjoy it, and habits are fixable, especially if someone has the motivation that comes from enjoyment of the instrument. On the other hand, some people who are dedicated to perfect habits can also be so afraid of making mistakes that they don’t practice enough to make progress and enjoy themselves.

What should a practice chart display? The number of minutes spent practicing per day? I think only a few students respond well to demands that they practice a certain number of minutes per day. Sometimes this demand just chills the motivation of students. It happened to my daughter, anyway.  She used to More…

It’s fall just now, a nice time to take a hike and see the candy-colored leaves before they drift to earth and turn crispy underfoot. You step over tree roots and rocks, smell the fresh air, notice a fallen tree, glimpse a vista through a clearing.

Then comes the fork in the road. The trail diverges and we have to make a choice. Once we’re on the new path, though, we once again step over rocks, sniff the air, chat with a friend.

Playing a piece of music is a little like following a trail through the scenery. Our footsteps are the beats. We follow a trail through the notes. And often we play notes that follow the same path we’ve followed before–until we come to the fork in the road.

Familiar note patterns–whether from other phrases in the piece, other pieces we know, or from scales and arpeggios we’ve practiced–are very helpful in learning and performing music. But our fingers can also be duped by them. The fingers may happily follow a familiar trail as we busily watch all the scenery–intonation, tone, dynamics–only to find ourselves suddenly fumbling through the woods because we got off the trail.

Instead of being frustrated that we messed up, it may be that we just need to find exactly where we missed the fork in the road that was supposed to take us someplace new–and usually the fork is located between one note we know and the following note we’re unsure of.

It might be, for example, that because we’ve played F# A E three times before, our fingers want to do it again, even though we’re supposed to play F# A F# this time, followed by a new musical phrase. We have to have some sympathy for our poor fingers if they mess up that new phrase. If they don’t start down the right path, they can’t follow it. Drilling them mercilessly may not always be the answer when they have good reason to be confused!

Most problem spots can be blamed on that one note that separates the familiar from the new. That’s the moment that gets the fingers onto the right path, and the rest of the passage may then follow more easily than expected. Once we’ve chosen the correct fork in the road, we can get back to enjoying the scenery.