I hope you enjoy this series of fictional scenarios about teaching music, and find it at times thought-provoking, familiar, and even humorous. We look forward to reading comments by yourself and other teachers at the end, about “what would you do?”
. *******************************
George is making progress. He has learned a reasonable amount of music. He enjoys music and practices regularly.
Sometimes, though, his hands get tired quickly. George works pretty hard, and asks too much of himself in some ways. He gets so intent on playing some notes that he twists his hands in odd ways. You’ve been giving him exercises and ideas for holding the instrument better so he can more easily play in tune, and save energy. It’s working, slowly. He is able to play more than he used to, without getting tired.
Today, George warms up with some familiar music, and you notice that although he made some mistakes, he didn’t falter, and his hands were a little more relaxed and comfortable than usual. There was a good feel to the music.
“That’s great!” you say. “The best you’ve done on that one so far!”
“No it isn’t,” says George. “It sounded lousy, and I do it way better at home.” He looks at you with a quizzical look that seems to say “are you humoring me or are you deaf?”
Is this a teachable moment, or time to move on? What would you do?
*******************
Please add your comments below; if you have any hesitations about it, please see the earlier post about “Adding Your Two Bits! How It Works“.
About the Author
Ed Pearlman has focused on performing, teaching, and judging fiddle music for over 30 years, offering performances and workshops throughout the USA and in Canada and Scotland. His original training was with members of the Chicago and Boston Symphonies, and he played with orchestras and chamber groups at Yale and in Boston. He currently teaches privately at two music schools affiliated with music stores in Maine. Ed directed the Boston Scottish Fiddle Club in monthly workshops for 18 years, directed major concerts and festivals, and recorded 2 solo CDs and several with a fiddle orchestra and top soloists. In addition to Scottish and Cape Breton fiddle styles, Ed plays other Celtic, American, and Canadian fiddle music, classical and some jazz, klez and Hungarian. Ed created and for 11 years ran a CD distribution company to bring music to the USA from Scotland, Atlantic Canada, Ireland, Brittany and Wales. He's the music columnist for Scottish Life magazine.
by Joe — Thu May 21, 2009 @ 3:12 am
by Amy — Thu May 21, 2009 @ 6:01 am
In line with "The Perfect Wrong Note," I would ask him to describe what he was feeling, physically, forgetting about the sound for a moment. Was it more relaxed, spontaneous? Were there moments that didn't feel as good?
Then have him explain what aspects of it he wasn't happy with and why. Finally, I might explain what I picked up on that I liked and how it will tie into future progress, but that's optional. We're guides. Telling students what we thought can have a short-term impact but true learning comes from within. If the student doesn't feel was better/worse the way you do then it isn't time yet to address those things, because whatever progress you make in the lesson on those issues will not be permanent.
by Klaus Georg — Thu May 21, 2009 @ 9:34 am
by Colin — Thu May 28, 2009 @ 12:29 am