Instalment 3

In my last instalment on studio teaching we examined the anatomy of a typical studio lesson, starting with the first session looking at both beginners and those who have had former experience. 

In this third instalment I would like to discuss the issues towards developing and establishing an effective home practice routine. I would also like to examine the importance of both accountability and ownership in addressing effective student learning development.

It is essential that the studio teacher introduces and reinforces the importance for developing a regular practice routine.

Essentially this routine should contain the following five components:

• Warm up
• Technical exercises A
• Technical exercises B
• Solo repertoire
• Ensemble repertoire

Before the student starts to practice there needs to be an identification process in which the student learns to determine, and set, specific goals to be addressed in the practice section before them.  What is it they wish to achieve and how will they achieve and recognise their goals?

A typical practice session should contain the following components.

  1. An instrumental/vocal warm-up routine should consist of:

• Breathing exercises, where applicable
• Long tone studies, incorporating the use of crescendo/diminuendo, (lip slurs over different intervals for brass)
• Flexibility/agility exercises 

2. A Technical focus ‘A’ should consist of : 

• Scales/modes/arpeggios
• Rhythmic vocabulary acquisition
• Articulation studies

3. A Technical focus ‘B’ should consist of:

• Melodic/vocalise etudes, which focus on mastering phrasing, inflection, dynamic contrast and harmonic function
• Expressive studies in various key centres incorporating a variety of meters

4. A solo repertoire component consisting of works from a wide variety of graded, standard works across a range of style and genre suitably chosen to match the level of the student's technical development and expressive performance ability. Don't overstep this!

5. And finally, the ensemble repertoire consisting of works drawn from the student’s involvement and commitment to large and/or small ensembles of the particular groups in which they are members.

It is also important to recognise that not all of these components need to be incorporated into an everyday practice, with the exception of the warm up segment. They can be interchanged.  For example, the student may choose to practice either  'A' or the 'B' Technical portions, or any other smaller combinations, thus relieving the student of using the same routine every day.  

We are now ready to share the process of ‘charting the course’. Having initially observed and noted the new student’s strengths and weaknesses, we must now identify and build on the student’s strengths, with an aim to addressing their present weaknesses.  Proven learning strategies are required to deliver positive, measurable results such as slow practice, the use of counting and sub-division, while employing comparative listening and repetition.  But there is also the need to identify strategies and applications for each individual student’s needs. It is important at this point to understand that every private lesson should model how students practice at home.  

What are we aiming to achieve in the student’s lessons?  How can we maintain a passion for detail without discouraging the student?  This is the great balancing act all teachers face.  When are we to speak, and when are we to listen?  Think:

• Don't give too many instructions
• What happens when I provide too much information?
• Aim to be a good listener?
• What is criticism, and how and when should it be used?
• What is praise, and how and when should it be used?
• What is genuine encouragement?

Remember: it is easier to teach the way we were taught than it is to teach the way we were taught to teach or should teach. For personal and professional growth, consider regularly recording lessons, either using video or aural. Recorded lessons and practice sessions can provide the best feedback on the above points. 

Further considerations for setting assignments:

• In setting assignments consider that less is more, and programme for success while maintaining the scope and sequence of the method book exercises 
• Remember the importance of choosing repertoire that is suited to the general perforamance abilities
• Remember to set time aside for reflection and encourage reflection in the lesson
• Include practical modelling on ‘how to practice’
• Be sure to foster and include opportunities for self assessment
• Be transparent, consistent and clear in establishing assessment criterion
• Be consistent from week to week in assignments and expectations
• Remember to organise assignments so as to lead toward continued development
• Regularly consider the quality of feedback to the student
• Assist the student in time management

Setting a weekly written assignment and noting the student’s progress from week to week assists in defining and recording the direction of student’s successful growth, assisting in developing commitment and accountability.

"Teachers are the mediators who provide, or fail to provide, the essential experiences that permit students to release their awesome potential..." J.S. Acaro

"A wise teacher makes learning a joy" Proverb 

In my next instalment I would like to explore some primary methods of pedagogy in human learning, with applications for assisting studio teachers with their task of assisting students in reaching their full potential.

Installment No. 2

In my last installment I introduced the need for a fresh look at the importance and centrality of the private, or school studio music teacher in in the music student’s life as a developing musician.  I also examined the various skills and experience necessary for preparing the studio teacher to engage and empower their students towards developing successful and fulfilling learning skills. 

In this installment I want to examine some of the essential elements that a ‘first lesson/session should contain.

A 'first session' should begin with introductions, which are then followed on with the collection of background information on the new student.  The easiest way obtain this valuable information is through an interview process, where one asks the student to briefly relate their past musical history, school music experience, and personal work ethic. If the student is not a beginner you should also ask about their current practice routine. The interview is generally followed up with providing the student with a standard form that allows for easy collection and organisation of routine information, including name, musical experience, former school, previous teacher (if appropriate), and contact details if not via the school.

 The next item of business should be to share your expectations, including length of lesson time, policy on missed lessons and explaining financial arrangements, if any.  Sometimes it is easier to convey this information in a personal fact sheet, which should include your strategy for a practice routine, the amount of daily/weekly practice you expect, and a discussion on the three types of goals present in successful learning.

Goal identification
1.  Identification of the long-term goal, the ‘vision’ or ‘dream’ to which they aspire. 1 to 10 years. Why has the student chosen their instrument, and what do they wish to accomplish?  You may wish to explain that these goals will most likely continue to change and expand as they develop, both physically and mentally.

2.  Mid-range goals; those that are of a more specific nature and are measurable and achievable within 1 to 3    months. For example,
*  The achievement of a specific piece of repertoire, either solo or ensemble works
*  The mastery of a concert performance programme of either solo or ensemble works
*  Mastery of a range of specific technique or interpretative challenges
*  Advancement on a specific skill acquisition; rhythmic, melodic expression, or range challenge 
*  Improved technique and or dynamic control.

3.  Short-term goals, which include very specific tasks or targets that are measurable and achievable within 5    to 30 minutes, or up to one week. (length between lessons) These short term goals should include the correct rendition of: 
*  full value notes, 
*  measured by sub-division, 
*  a specific rhythmic challenge, 
*  a specific fingering passage, 
*  a specific articulation challenge, i.e. staccato, legato, slur, etc., a specific phrasing/expressive challenge, etc.  

All three types of goals should be considered working concurrently. It is essential that the teacher begins to encourage the transfer of these goals to their student’s way of thinking and their individual approach to daily practicing.

If the student is a beginner, it is now time to introduce the instrument itself. Assuming you are confident that the student’s chosen instrument is a reasonably physical fit (hand size, arm length, height, lip shape and teeth (for wind instruments), you will now need to clearly describe and demonstrate the following points systematically, regularly checking to see if the student understands:
* The parts of the instrument and how the instrument functions
* How to care for the instrument
* How to assemble the instrument (if applicable) 
* Appropriate posture and hand position 
* The formation of the embouchure (if applicable)
* The principles of tone production and projection, and if applicable, air support

Before the close of the 1st lesson it is imperative that the student shows a basic intellectual understanding, and can physically demonstrate the correct responses to the above points.  

If the student is not a beginner it is now time to hear them perform a sample of music from a recent performance experience, or some examples on which they have been recently working.  It is best to have a set of criterion, which will enable you to look and listen for basic skills and performance fundamentals. This should provide an indication of the student’s current state of development and future direction. 

The criterion should include the following considerations:

1. Posture, hand & finger, bow or stick/mallet positions, and embouchure, voice placement (where appropriate)

2. Tone quality formation (breathing and/or manual control of bow or mallets)

3.  Attention to technical detail such as:
·      consistent tempi
·      ‘full value’ notes
·      attention to articulations
·      instrument/voice range
·      vertical rhythmic precision and sub-division
·      technical facility/agility
·      familiarisation with musical terms
·      key and time signature cognition                    

4.  Aural awareness and personal perception
·      tone quality & pitching skills
·      intonation
·      aural and visual evaluation skills

5.  Musicality
·      expression (dynamics, nuance, agility and inflection)
·      phrasing and harmonic contour: cadence arrival and departure

6.  General deportment/attitude/expected work ethic

After the student has performed, a brief discussion should follow covering the teacher’s perceptions of the student’s present performance ability, remembering to be encouraging, supportive, and honest.      

For both the initial beginning and the continuing student, it is now time for making the 1st assignment.  The studio teacher will have a range of warm-up routines, a collection of tutor books, which include technical studies scales, arpeggios rhythmic vocabulary and melodic etudes on which they can use and/or recommend. They will also have a variety of appropriate solo repertoire, in which they have developed sufficient confidence in their suitability.  If the private lesson is within a school environment, there may also be curriculum materials to be incorporated.  As your first lesson is of utmost importance, the assignment should be drawn from the student’s present developmental stage and musical understanding.  It should also reflect a new direction. Remember to keep this first assignment simple, attainable and especially programmed for success. 

In my next installment I would like to discuss the issues of teaching material and warm-up training strategies and these are how these are connected to establishing good attitudes and motivation towards establishing effective home practice routine. I would also like to examine the importance of accountability and ownership in addressing student learning development. 

The success of our music student’s capacity to acquire effective learning and performance skills is often directly linked to the effectiveness of private music studio teaching, in or out of the school environment.   Learning skills gained and fostered in the studio should in turn increase the student’s ability to succeed and excel in the experience of music making, and learning in general.      

Who then are the people that are generally placed in charge of the individual musical and personal development of our vocal and instrumental music students? On what criterion are they hired and what training have they received in the art of studio teaching pedagogy?  In fact, what training have they received towards preparing them for one of the most demanding, challenging, thankless and yet rewarding jobs in our music departments?  What professional development training is available for further development, and how many teachers can, or are willing to avail themselves of professional development opportunities?  Is there sufficient communication between itinerate and permanent staff members in our department?  And finally, how are these integrally important staff members included in the overall planning and course development for the future directions of our music departments?

These are complex questions, which I suspect get lost in the day-to-day teaching and administration load.  After all, who needs another administrative task?

It is my hope that these instalments on the art of studio teaching will provide opportunities to explore the essential, complex and often little understood role of the private studio teacher.  I trust that I will be able to offer some fresh ideas and strategies for all who are involved with either private teaching or the supervision of studio teaching in their institutions.

Early on in my 20 year tenure as Senior Lecturer in Music at the University of Tasmania, I became convinced of the urgent need to address the lack of training for studio/private music teachers, for it is common knowledge that most music graduates at some point will find themselves in a private teaching role: There seemed to be no provision for the neglect of this obvious fact. Therefore, one of my self-appointed responsibilities was to convince my colleagues of the crucial need to include a yearlong unit on studio teaching within the general undergraduate course.  My first task in writing the unit was to consider the many facets of this complex job. I decided that the best place to start was with a comprehensive position description, beginning with a basic list of essential elements required for successful studio teaching, such as:  The personal and professional qualities and abilities studio teachers were likely to need, and what economic and business knowledge/skills the job would require. Also included were the knowledge base and communication skills the studio teacher would need to effectively accomplish their task.  Focusing directly on the above considerations, I believe the studio teacher will need to:

*  Acquire and develop the ability to both listen and observe discriminately, through employing a set of visual and aural 'templates' (more on these later)

*  Introduce and model correct responses while encouraging the student’s engagement with, and use of critical listening and observation

* Successfully diagnose performance strengths, while identifying specific areas for improvement  

*  Introduce, demonstrate and reinforce effective practice/learning strategies

*  Shape, guide and encourage, while holding the student accountable

*  Inspire students in the pursuit of excellence, tempered with patience and compassion

*  Encourage students’ personal ownership in developing their own personal learning processes.

*  Possess a good understanding of best business/tax practice.  

It is often our personal experience, past, present and future that usually inspires and informs us towards developing and delivering a truly effective teaching style.  Of course, this requires constant attention to our own personal growth and development, which includes a commitment to continual personal study, listening, searching for new and proven teaching strategies, impatience with the mundane and intolerance of the mediocre. 

Studio teachers who aspire to excellence in their craft will need to maintain their love of, and passion for music and music-making, as well as genuinely desiring to share their passion and musicianship with others. The rewards for diligently seeking to develop teaching skills, or aiding those who are seeking to improve their craft can be equally exciting, such as discovering more questions than answers, experiencing frustration, joy, anger, success, failure, triumph, fatigue, elation, challenge and disappointment.  One of the major difficulties of this job lies in the close, ‘one to one’ relationship between teacher and student. In a sense, there is nowhere to hide. Our strengths and weaknesses are laid bare for students and colleagues to see, through either the success or failure of our students to advance in their musical development.  Is it any wonder that students will travel across oceans and continents to study with a celebrated teacher?  The reputation of an inspirational teacher often functions like a beacon; they draw all who seek success from contact, study, and the inspiration of a master.  Many teachers continue to make significant impact on lives of their students and colleagues throughout their life.  

Having established the fact that studio teaching consists of a number of complex demands and abilities, it is important teachers continue to seek out strategies that will assist in meeting those demands and acquiring those abilities. The newly gained strategies will, in turn enable one to provide students with the very best learning environment and learning skills, allowing for successful development of the student’s musical potential. Therefore, fostering a commitment to professional development is essential.  It is easy to forget that one needs to frequently re-calibrate their personal approach to teaching and learning.   New strategies appear regularly and we need to avail ourselves of them. Conferences are great places to mix with inspirational, leading educators where shared philosophies and successful strategies can be heard.  One will also find that their network of colleagues will have many similar issues and may have the answer for one’s specific need.  Then again, there are great resources in new and old texts, as well as great ‘on-line’ resources literally at our fingertips.

One of the most important traits of a successful studio teacher is that of personal and professional integrity, which leads me to one of my favourite quotes’.

“My mission is to live with integrity and to make a difference in the lives of others” Jeff Morrow


Studio teachers can also bear a great responsibility for their student’s personal well-being, self image and confidence. One must remain honest, discreet, trustworthy, compassionate and wise in all their dealings with their students.  If we fail in this responsibility we may have doomed our students to a musical life of mediocrity, or worse.

In my second instalment on studio teaching we will examine the anatomy of a typical studio lesson, starting with the first session.