SBC Suzuki Strings Studio Sarah Coley, teacher
FAQs (ADDENDUM TO THE STUDIO POLICY)
Do you have a question about something that was not addressed in the Studio Policy or need additional clarification? You may find the answer in this FAQ addendum, which provides more specific information on policy items and answers to questions beyond the scope of the policy. Questions are grouped according to headings as listed in the Studio Policy (and includes some extras).
1. TUITION/PRIVATE LESSON FORMAT
a. HOW OFTEN DO LESSONS TAKE PLACE?
Lessons during the school year are offered on a weekly basis only. All students will be expected to attend a lesson each week that lessons are offered. I do not offer the format of lessons every other week or at infrequent intervals, because it is imperative to have the consistency, proper technical development and follow-through that can only be brought about through a weekly lesson. Summer lessons are the only exception to this standard.
b. WHICH LESSON LENGTH SHOULD I SIGN MY STUDENT UP FOR?
Young, beginning students can begin with a BASIC (30-minute) lesson, but intermediate and advanced students (middle school/high school) will be expected to enroll in a longer lesson length. Ideally, piano students in Level 2A and strings students in Book 2-3 will need a 45-minute lesson. However, any student may request a longer lesson length than indicated for their level. (If it is feasible financially to enroll in a 45-minute lesson from the beginning, it is highly recommended that the student do so.)
It is recommended that you select the lesson length for the student that corresponds to their current book/ability level. As the repertoire gets longer and more technical, it becomes increasingly difficult to get through the entire lesson assignment each week—and there is little time to reinforce essential concepts if rushing to make it through everything. Parents can select whatever lesson length they would like for the student, and the teacher will try to make it work. However, the guidelines listed are what will be most beneficial to the student considering where they are developmentally. The bottom line is that students who need a longer lesson length are not going to progress as much with a 30-minute lesson if the student actually needs more lesson time.
2. GROUP LESSONS
a. WHAT HAPPENS AT GROUP LESSONS?
At group lessons, students perform for each other, and participate in group activities that we cannot do in private lessons. Participation in group lessons is STRONGLY RECOMMENDED, but attendance is optional. Please remember that due to group lessons being attended by multiple students, there are no make-up lessons for missed group lessons.
b. WHY GROUP LESSONS? (PIANO STUDENTS)
Group lessons are an integral part of the learning process, as technique is refined, ensemble skills are built and sight-reading and music theory are reinforced. Group lessons also present the opportunity for students to work on duet/ensemble pieces. This enables students to work on collaboration, foster inter-studio relationships and provides a motivating medium to encourage music reading—a very necessary prerequisite to learning and performing ensemble literature, accompanying or reading any sort of music just for fun.
c. WHY GROUP LESSONS? (VIOLIN STUDENTS)
The group component of the Suzuki method is crucial in a student’s musical development and study. It is the ideal medium to work on and reinforce techniques and musical concepts learned in the private lesson. Additionally, students learn more advanced techniques through review of previously learned pieces; become musically flexible by accepting and reacting to differing interpretations; improve direction-following skills; begin orchestral or small ensemble preparation; learn the value of teamwork and foster inter-studio relationships; offer and receive constructive criticism in a positive environment; become motivated through both a social and educational environment; and prepare for group and solo performances.
d. DOES MY STUDENT HAVE TO ATTEND GROUP EVERY WEEK?
Depending on your child's book level/age group, options for group classes can range from 1-2 sessions per month or weekly. As your teacher, I will make a recommendation as to which group schedule would most benefit your child, but it is your decision how often you want to commit to group lessons.
3. WITHDRAWING FROM/QUITTING LESSONS & LESSON TERMINATION
a. MY CHILD HAS SUSTAINED AN INJURY/IS TOO BUSY FOR LESSONS, WHAT CAN BE DONE?
In years past, I have had students who have had to temporarily withdraw from lessons for a brief period due to injury (broken hand/arm), or due to extracurricular activities and sports. First and foremost, I am not a proponent of giving students a hiatus from music lessons. I do appreciate the fact that many students can have lots of commitments and activities that compete for their time, in addition to music lessons. However, it is possible to condense the lesson assignment for very busy students who may only have minimal time to practice every day; and for students who have sustained an injury, it is still possible to continue lessons while recuperating. (There is a lot of “one-handed” literature now in print for piano students, and violin students can spend time reinforcing their bow hold or left posture and fingering. Further theory instruction is a great option for either instrument as well.)
b. WHAT IS MEANT BY 'LESSON TERMINATION DUE TO LACK OF PRACTICE'?
With regard to lesson termination due to lack of practice, I do not want parents and students thinking that I am going to "fire" students just because they do not practice. The dynamic of the music student has changed significantly since I was a music student. Students do periodically go through lapses of not practicing (some longer than others). This is entirely normal, and is not a reason for your child to consider quitting, or should cause them to wonder if I will be asking them to go study elsewhere. Failure to practice consistently, by my definition, refers to students who are repeatedly reminded to practice, but clearly do not put forth the effort to practice due to lack of interest, commitment or sometimes sheer laziness. These are the students who fail to sufficiently prepare pieces for a recital or Festival when they previously committed to do so, or do not progress in the repertoire for months and months at a time. (A more recent example of this is a of a transfer student who began lessons with me in September, and then never practiced (not once!) between September and May!)
In situations like this, it often makes me feel that not only are parents wasting their money on lessons, but my time is being wasted as well in the sense of not being valued. I enjoy teaching and being able to share my love of music with students, and it makes me feel "devalued" when students do not seem to care to put forth any effort to practice or are ambivalent or unengaged at their lessons. When students do not show an interest or put forth any effort in taking their lessons seriously, it makes the whole experience less enjoyable for everyone involved. (Please keep in mind that discussion of this "type" of student is with reference to the exception and not the norm.) Should your student ever get to this point, I will request a conference with the student and parent to discuss and evaluate how serious the student is in "getting back on track". Should the student decide to continue with lessons, they will be placed on "practice probation", which stipulates that the student is "contractually" obligated to "shape up" or they will be asked to find another teacher. During "practice probation" all parties involved will draw up a contract which will stipulate a set minimum daily practice time and number of days of practice per week. The student will have 2 months to show some improvement (and adhere to the contract); obviously, this improvement should extend beyond the two months as well. A weekly report during the 2-month probationary period is required.
4. MISSED LESSONS/RESCHEDULING LESSONS
a. WHAT HAPPENS IF WE MISS OUR LESSON?
Music lessons are considered to be in the same vein as dance recitals, sport practices, or college tuition—you are paying to reserve a slot in the studio. Lessons and classes are not made up when your child is sick or has to miss due to a scheduling conflict. As such, tuition is non-refundable, and deductions or refunds from tuition are not allowed. Furthermore, missed or unattended lessons are forfeit. This includes lessons for which a student neglects to show up without notice, or for which I am notified after the fact. Please be prompt in arriving for your lesson on time. Students who arrive late will receive only the time remaining during their scheduled time. Notification of absence given right before your lesson time; during your lesson time; or after your lesson time will not be rescheduled.
5. MUSIC & MATERIALS
a. DO YOU USE A PARTICULAR PIANO METHOD WITH YOUR STUDENTS?
As your child’s teacher, one of my tasks is to find a method (or design a syllabus) that works well for your child. There is not a holy grail of piano methods, though I often wish there were! That said, for young beginning piano students, I love to use one or more of the following: Perfect Start to Piano; Piano Made FUN; Piano Pronto; Piano Safari; or Succeeding at the Piano. For beginning through early intermediate piano students, I will typically use one or more of the following: Piano Adventures (or Accelerated Piano Adventures); Piano Pronto; or Succeeding at the Piano. For piano students beyond use of a method book (intermediate level and above), I typically will use Keith Snell’s Piano Repertoire series and supplement from the Royal Conservatory texts and lists, in addition to using other supplementary literature.
b. WHAT ABOUT FOR YOUR STRING STUDENTS?
For string students, the core method used is the Suzuki method, although I do use supplementary texts and exercise/technique books where appropriate. Cassia Harvey’s fabulous violin books are a staple.
c. CAN WE BORROW MUSIC FROM THE STUDIO (YOU, THE TEACHER)?
I do not permit students to borrow music or loan out music of my own. I have thousands of dollars invested in my own music library, and when loaning music out, there is always the risk of the music becoming damaged or lost. As such, and due to copyright laws, you are required to purchase and pay for ALL music needed for your student. However, I do try to keep some gently used copies of method music on hand to loan out for a nominal rental fee for circumstances where purchasing music is not financially viable. Please speak with me for additional information.
d. HOW/WHERE CAN I PURCHASE MUSIC & MATERIALS FOR MY STUDENT?
To make it easier in obtaining materials faster, I suggest purchasing materials from the studio. (Of course, you are more than welcome to visit the music store (or go online) and purchase the materials yourself; although sometimes as a teacher, I am able to purchase materials at a discounted rate.) An invoice for these materials will either be sent to you via e-mail or can be viewed by accessing your account at the studio website.
e. DOES MY STUDENT NEED A METRONOME?
All students at some point will need a metronome for practice. The best metronomes are the ones that are not electronic (with the annoying "beep"), but are the manual metronomes usually made by Wittner. The cost of a good metronome can range anywhere from $30-90 or more. I can usually get a fairly good deal on metronomes if I buy them in bulk, so if you are ready to purchase a metronome, please let me know.
f. WHAT HAPPENS IF WE LOSE OR FORGET OUR MUSIC?
The majority of my students (and parents) are meticulous about coming prepared for their lesson each week. However, every once in a while, a music book does get left by mistake at home—I know that it happens. In the event that this happens, do not feel that you are in trouble or should not come to your lesson. We will make do without the book for the time being until the following week. That said, do not operate under the assumption that I have duplicate copies of every book that your child is playing from.
In terms of lost music, if after 1-2 weeks, you think that the music is genuinely missing, you will need to purchase a replacement copy. In more extreme cases (where a student continues to forget their music books), if your student comes to lessons missing a specific book of music 3 weeks in a row, at the third lesson you will be required to pay for an additional copy of the same book in question to keep at the studio for your student to use at their lesson each week. (And if you cannot find the missing music at home, you will be required to purchase 2 additional copies for at-home and at-studio use.)
Violin students should obviously do their best to remember to bring their instrument, shoulder rest, rosin, foot chart, etc. for the same reasons. I do not have instruments on hand in the event that you leave your instrument at home.
6. LESSON CONDUCT & COMMUNICATION with TEACHER
a. WHAT IS THE BEST WAY TO CONTACT YOU (THE TEACHER)?
Probably the quickest way to get in touch with me is via email/text. For questions regarding scheduling or incidental questions that do not require a lot of explanation, it is easier to conduct this exchange of information via email/text if possible. That said, you are more than welcome to call and leave a message for me to return regarding questions that would require a more lengthy explanation or conversation. Please refrain from calling my home phone number, as I rarely answer/check messages coming to that number. Please use the designated studio phone number which is 208-736-7181.
Please note that I do not answer the phone during teaching hours. I feel that it is very disrespectful to students for me to answer phone calls during their lesson, and so I do not typically answer the phone while I am teaching. This being the case, I often cannot return calls during the school year until the following morning. I also have two happy and noisy children in my home who can make it difficult for me to get to the phone at times. J Please refrain from calling the studio between the hours of 9:00pm-9:00am.
b. CAN I ASK QUESTIONS DURING THE LESSON (PARENTS)?
Questions during the lesson are permitted so long as it is a quick question that I can answer in 10 seconds or less. Jot down any questions you may have in your notes. If there is time at the end of the lesson to ask your questions, I will be happy to answer them. If there is no time left at the end of your lesson to answer these questions, please plan to correspond with me via email regarding your questions during the week.
I would ask that you politely refrain from imposing on my schedule (as well as that of the next student who is patiently waiting to begin their lesson) by attempting to ask me questions during another student's lesson time (beyond your lesson time). I do not think that anyone appreciates coming to lessons on time, and then having to wait an additional 10-minutes to start their lesson (thereby starting their lesson late), because they are waiting on the previous student to end their lesson and exit . Please help me to be professional and stay on schedule by keeping your questions confined to your lesson time only. Obviously, if you would like more time to have your questions answered, you may schedule and pay for additional lesson time.
c. WHAT IS THE “MILLION DOLLAR LESSON”?
The “Million Dollar Lesson”: If a student fails to cooperate in a lesson, as the teacher, I may end the lesson right away regardless of how much time is left in the lesson. (Disruptive students at group lessons may be asked to sit out for the duration of the group lesson for the same reason.) Please see this as a learning experience and discuss what happened and how to correct it for next week. My teaching philosophy (and the Suzuki philosophy) are about more than just music study—being respectful and following directions right away is a lesson worth a million dollars!
7. PERFORMANCES: STUDIO, HOME & BOOK RECITALS
a. HOW OFTEN MAY/SHOULD MY CHILD PLAY IN STUDIO RECITALS?
Students are encouraged to perform in at least ONE recital per semester, though they may perform more than this if they so desire and have repertoire prepared. Typically, I do not recommend recitals for beginning students until after the first year of lessons has been completed, (which for violin students is after the completion of the Twinkle Variations & Theme). Transfer students are evaluated on a case-by-case basis.
b. ARE THERE ANY REQUIREMENTS TO PARTICIPATE IN STUDIO RECITALS/CONCERTS?
Recital participation is largely contingent on whether your teacher feels that your child is prepared to play. I do not permit any student to play at any recital unless they are well-prepared, that thereby recital experience may be a positive one. Recital jitters and anxiety will happen with any performance, but if these occur with a student who is also ill-prepared to perform, it usually spells disaster.
Typically, I prefer that repertoire for all recitals MUST BE MEMORIZED, with the exception of ensemble pieces. I do so with the intent of holding students to a higher standard and encouraging them to be more diligent about preparing sufficiently to do well. Recital pieces are usually selected 4-8 weeks prior to the actual recital. This allows ample time for your student to learn, memorize and polish their piece to recital-worthy standards. However, in order to perform any piece at recital, the piece in question must be deemed “passed off” at the latest two weeks prior to recital. Obviously, if your child misses their last lesson, they may not be permitted to play at recital.
c. WHY DO YOU ASK THAT STUDENTS MAINTAIN THEIR POLISHED SOLO REPERTOIRE FOR THE ENTIRE SCHOOL YEAR?
Mostly, I ask that students maintain their polished solo repertoire so that they have an easily accessible selection of pieces to choose from to play at a moment’s notice. Additionally, each year in May, students are encouraged to hold an individual solo recital, either at home or in a formal setting. At this recital, students are expected to prepare and play at least 5-10 favorite pieces polished and memorized during the past school year. (Preparation for this solo recital hinges on students reviewing these previous pieces, so reviewing previous pieces is encouraged to minimize stress!) If performing at home, a performance sheet and instructions will be sent home with your child, and then returned to me the following week. If the performance is planned for a more formal setting, then students are expected to prepare as they would for a studio recital.
d. WHAT IS REQUIRED TO “GRADUATE” FROM EACH SUZUKI BOOK (VIOLIN STUDENTS ONLY)?
Upon completion of a Suzuki book, a Book Recital is held for the student to showcase what they have learned and to officially recognize that the student has officially graduated from the level. As your student draws closer to completing a book, we will discuss which pieces he/she will be expected to play at this recital. Pieces must be memorized, as well as up to performance level standards. (If students are reviewing consistently and attending group lessons, there will be little or no stress associated with preparing the book recital.) Students (notice I did not say parents) are tasked with choosing who to invite to their book recital, i.e., family members, school friends, or fellow students. Parents and students will be in charge of organizing invitations, as well as setting up the location of the recital. Your teacher will provide the programs. If you are unsure where to begin, do not hesitate to ask your teacher for assistance.
7. PARENTAL INVOLVEMENT & HOME PRACTICE
a. WHAT IS YOUR DEFINITION OF PRACTICE & WHAT DOES IT ENTAIL?
Music study and practice at home should receive the same priority as homework or sports. Students are expected to make their best possible effort to focus on and practice the techniques and pieces learned at their lesson. It would be ideal if the student would come to their lesson ready to play what they have practiced during the week, but I realize that certain circumstances may prevent a good week of daily practice. If this occurs, your child should never feel that they should not come to their lesson for fear of chastisement. If anything, your child should come to their lesson so that we can review their assignment together, and make sure that they understand what to do when they do find time to practice.
b. DO YOU HAVE A PRACTICE REQUIREMENT?
I do not have an "official" practice requirement in my studio, but most students quickly come to the realization that in order to succeed and excel in my studio, they have to put forth some effort and actually practice. Due to my own experiences as a music student, and my training, as a teacher I demand a lot technically from my students. Yes, it is great if a student can play a piece, but can a student make the piece sound like more than just a bunch of notes? And when note reading, does the student actually read the notes or rely on the ear exclusively to guide them through—sometimes haphazardly? I do not expect every piece to be perfect; but I have a very good idea what each one of my students is capable of achieving. As such, I will push them to strive for their own individual level of perfection. Generally speaking, what your child gets out of their lessons is very dependent on what effort they put into preparing for their lessons each week. Although I do not have a blanket requirement for every student, there is an "unspoken" expectation as to what I would like to ideally happen with practice.
To begin with, a week's worth of practice constitutes exactly 7 days of practice. In a perfect world, students would have no problem practicing every day of the week before their next lesson, but that tends to be the exception and not the norm. This being the case, it may take 2-3 weeks to get that 7 days of practice. Another way to look at it would be to think of it as practicing for approximately 15 hours before your next lesson. Again, most students do not typically spend 15 hours practicing each week. The point is that there is no set schedule for how quickly or slowly your child will progress. Most often, your child’s rate of progress will be dependent upon how much conscious effort they put into their practice. Therefore, the more consistent and in-depth your child’s practice is, the faster they will progress. Obviously, a child who consciously and with great attention to detail practices every day of the week (7 days) and averages 15 hours of practice is going to progress faster and demonstrate more technical development than one who practices for fewer days and less time.
Parents need to help with establishing good home practice. Sit down with your child and together negotiate a set time to practice 5-7 days out of the week if possible. Studies, as well as comments from parents, indicate that a set time of practice every day greatly increases the chances that your child will actually practice! It is usually a good idea if you can stipulate that homework and practice must be done before leisure or fun activities.
Typically, the minimum length to practice each day is based on the length of your child's weekly individual lesson. If your child has a 30-minute lesson each week, then they should be practicing for at least 30-minutes each day. However, practice should be more than just the lesson length. In order to build up the stamina required for lessons (and group lessons), your child needs to actually be practicing longer than their private lesson length in order to be able to make it through their weekly lesson without complaint. Additionally, we are also trying to build the focus and concentration of your child. Age should not be a factor in determining the amount of time spent practicing.
In light of this, practice at home should equal DOUBLE what the lesson length is. Why? Typically, home practice tends to be inefficient in comparison to practice at lesson with the teacher. While at your lesson, your teacher keeps your child focused and on task. Concepts are taught and repeated with minimal commentary from students; and students usually are more respectful toward their teacher in following and complying with directions and instructions. At home, there is a tendency for students to dilly-dally or make up excuses to not practice or to take lots of breaks. And, yes, tantrums and arguments can be a common staple of home practice too.
A doubled practice time? Yes, it sounds a little daunting in theory, but this is not a change that has to happen overnight or even right away. Start small. When increasing daily practice time start by adding just 5 minutes to the total daily practice time each week. A child who typically practices 20 minutes (and should be practicing for an hour) will be well up to practicing for an hour in about 2 months, which is much more manageable than requiring an hour's worth of practice out of the blue. Children have to gradually build up their stamina to practice that long.
For younger students, this may mean breaking up the total practice time into smaller increments during the day. For older students, daily practice time can be done in one large chunk or broken up into smaller increments as well, but the time spent practicing should be far longer than for a beginner in order to accommodate the advancing repertoire. Obviously, the more advanced a student becomes, the more it becomes a necessity for them to dedicate additional time to practicing. Theoretically, beginning students should average 5-7 days of practice with a total practice time of at least 2-7 hours per week, while older students should average 5-7 days of practice with a total practice time of at least 3-14 hours per week. (This is a very generalized rule of thumb on practice.)
One thing to keep in mind is that with practice, we are looking for consistency. Consistency in your child's practice each week will also allow them to have consistency in their overall technique; review pieces will be played with more proficiency; will help to build your child's confidence; and will ensure that they have a more positive attitude toward their instrument.
c. WHAT ARE YOUR EXPECTATIONS FOR PRACTICE?
Good practice entails playing a piece through several times in entirety each practice, as well as isolating "difficult" or "stumble" sections and repeating those specific passages several times until they become perfected. Listening to the recording of a piece (if available) and/or practicing with the recording is always a good idea too. If you need additional ideas or pointers as to how you should be practicing, please ask your teacher for suggestions.
d. MY CHILD HAS THEIR LESSONS ASSIGNMENT WELL PREPARED FOR THEIR NEXT LESSON. CAN WE GO AHEAD AND START THE NEXT PIECE(S)?
Please refrain from going ahead of what you have been assigned to do for your weekly lesson assignment, regardless of how "bored" your student may become with this assignment. (Reviewing previous pieces is always a "safer" idea than going ahead.) Often students and parents may have the best of intentions, but if that first “imprint” of a piece or concept happens to be incorrect, we will have to spend additional lesson and practice time relearning it correctly. Save yourself (and your child) the frustration, and just wait until your next lesson. That said, there will come a time where I will assign your child to work on a new section, or sight-read a piece, independently and without the assistance of the teacher at home. In those instances, do your best to be thorough in your practice--observe the counting, dynamics, watch the skips, steps, etc.--BUT DO NOT GO AHEAD, UNLESS YOU HAVE BEEN TOLD SPECIFICALLY TO DO SO BY YOUR TEACHER.
8. COMING TO LESSONS
a. HOW EARLY SHOULD WE ARRIVE FOR LESSONS?
If you are the first student of the day (morning or afternoon), please refrain from arriving no more than 5-minutes earlier than your scheduled lesson time. For all other students, please try to refrain from arriving no more than 5-10 minutes earlier than when your lesson is scheduled to begin. If you are waiting in the waiting area, please wait quietly–it can be terribly distracting to students during their lesson if you are talking (loudly). (Earlier arrivals need to be cleared with the teacher first.)
b. CAN MY OTHER CHILDREN PLAY IN YOUR YARD DURING MY STUDENT’S LESSON?
Children should not be left unattended in our yard. It is acceptable for children to sit in the yard or run around, but please do not climb the trees or the fence, do not pick the flowers or plants, do not go into our home, or use the wrap-around porch as a running and play area (including climbing on the railing). Please treat our yard with the same courtesy and respect that you would your own. I am not liable for anything that happens to children left unattended in our yard.
c. DO YOU HAVE A RESTROOM AVAILABLE?
There is a restroom available for absolutely necessary situations. I ask that you treat the restroom with the same courtesy and respect that you would your own, and help to keep things neat and sanitary for the rest of my studio families. Please try your best to use the restroom either before or after your lesson. I would ask that you try to refrain from using the restroom right when your lesson is scheduled to start or in the middle of your lesson if at all possible.
d. WHAT SHOULD MY CHILD DO WHEN THEY ARRIVE FOR LESSONS?
Below is a checklist of what you should do when coming for your lesson:
a. WHY SUMMER LESSONS?
My summer lesson "soapbox": Taking a vacation from music lessons for three months can impede the learning process when the student returns in the fall. Usually, students who do not take lessons throughout the summer months typically spend the next few months in the fall relearning things that they have forgotten. This is akin to the review that often takes place in schools at the start of each school year; so it is in your child's best interest to take lessons during the summer if possible. Students who decide to forgo summer lessons often begin the summer with the best of intentions to keep up with their practice (without lessons); but their effort usually falls short simply due to the fact that without that "evaluative" lesson each week, the necessity of practicing becomes less of a necessity. There is a tremendous amount of muscle memory and technical coordination that goes into studying any instrument. The occasional break or short vacation (typically a few weeks in duration) does not usually hinder the learning process, but a summer-long hiatus can easily undo a school year’s worth of refining and honing these skills. It can be incredibly frustrating to come back in the fall and discover that the perfect bow hold, or round fingertips for piano, that we worked so hard on all year long no longer remain quite so perfect!
The summer can be a great time to get ahead for the fall. Without the chaos of school, there suddenly is a lot more time to practice! With that in mind, if your student is preparing a sonata for Sonata Festival (piano students only) in November (or is planning to participate), it would help tremendously if your student continues to take lessons during the summer months; especially for those students who will be preparing longer and more technical sonatas. The same goes for students who may be preparing concerto or ensemble events for Festival.
10. LESSON STRUCTURE & COMPONENTS
a. DO YOU TEACH MUSIC THEORY? WHY IS THEORY IMPORTANT?
Students are required to study music theory as well. As rudimentary and ‘boring’ as theory may seem to some students, it is the ideal way to reinforce concepts that students are learning including note recognition, counting, dynamics—all concepts related to sight-reading.
11. PIANO STUDENT RELATED QUESTIONS
a. WHY DOES MY PIANO STUDENT NEED TO REVIEW PIECES?
Reviewing pieces is crucial from the standpoint that most piano students simply do not do it, and they really should. Examining this topic in terms of a method, pieces tend to build upon concepts introduced in previous pieces. Students who spend some time reviewing each week and memorizing pieces regularly progress much faster and play more proficiently than students who do not review. Reviewing also means that your child has an easily accessible repertoire, which is great for those situations in which your child may be asked to spontaneously play something for a grandparent, friend, etc. It is much easier to play something you know well (i.e., a well-rehearsed review piece) rather than something you are just beginning to learn (i.e., playing a piece lacking correct notes, counting, dynamics and overall is a work in progress that was just started at your lesson a few days ago).
b. MY STUDENT DOES NOT LIKE THEIR METHOD BOOK PIECES AND TELLS ME THAT THEY WOULD PREFER TO PLAY MORE POPULAR/CURRENT SONGS INSTEAD. CAN MY STUDENT LEARN “FUN” MUSIC INSTEAD?
Music lessons are a serious thing. My goal in teaching students is not to make music “fun”, but enjoyable, and there is a big difference between the two. Piano students below an intermediate level will be expected to continue through a method until the completion of the entire method’s sequence. If a student does not have a solid foundation from which to draw from, learning more mainstream, popular music will prove to be very cumbersome. Popular music, while not compositionally as intricate as Mozart or Beethoven, can be not only rhythmically challenging, but a sight-reading nightmare for any student lacking in the fundamentals. Sometimes I will add in the occasional “request” for a popular music piece (more simplified versions, usually). However, popular music should not be used as a complete and total substitute for standard literature or method book pieces. Popular music may be used as a supplemental piece, but should not take precedence over method pieces. Nor should it be the only thing your child practices during the week while neglecting to practice the rest of their lesson assignment. Popular music repertoire being taught is contingent upon the rest of the lesson assignment being practiced. If progress, in terms of the method repertoire, is not being made, popular repertoire pieces will be dropped until the student can get back on track.
Do you have a question about something that was not addressed in the Studio Policy or need additional clarification? You may find the answer in this FAQ addendum, which provides more specific information on policy items and answers to questions beyond the scope of the policy. Questions are grouped according to headings as listed in the Studio Policy (and includes some extras).
1. TUITION/PRIVATE LESSON FORMAT
a. HOW OFTEN DO LESSONS TAKE PLACE?
Lessons during the school year are offered on a weekly basis only. All students will be expected to attend a lesson each week that lessons are offered. I do not offer the format of lessons every other week or at infrequent intervals, because it is imperative to have the consistency, proper technical development and follow-through that can only be brought about through a weekly lesson. Summer lessons are the only exception to this standard.
b. WHICH LESSON LENGTH SHOULD I SIGN MY STUDENT UP FOR?
Young, beginning students can begin with a BASIC (30-minute) lesson, but intermediate and advanced students (middle school/high school) will be expected to enroll in a longer lesson length. Ideally, piano students in Level 2A and strings students in Book 2-3 will need a 45-minute lesson. However, any student may request a longer lesson length than indicated for their level. (If it is feasible financially to enroll in a 45-minute lesson from the beginning, it is highly recommended that the student do so.)
It is recommended that you select the lesson length for the student that corresponds to their current book/ability level. As the repertoire gets longer and more technical, it becomes increasingly difficult to get through the entire lesson assignment each week—and there is little time to reinforce essential concepts if rushing to make it through everything. Parents can select whatever lesson length they would like for the student, and the teacher will try to make it work. However, the guidelines listed are what will be most beneficial to the student considering where they are developmentally. The bottom line is that students who need a longer lesson length are not going to progress as much with a 30-minute lesson if the student actually needs more lesson time.
2. GROUP LESSONS
a. WHAT HAPPENS AT GROUP LESSONS?
At group lessons, students perform for each other, and participate in group activities that we cannot do in private lessons. Participation in group lessons is STRONGLY RECOMMENDED, but attendance is optional. Please remember that due to group lessons being attended by multiple students, there are no make-up lessons for missed group lessons.
b. WHY GROUP LESSONS? (PIANO STUDENTS)
Group lessons are an integral part of the learning process, as technique is refined, ensemble skills are built and sight-reading and music theory are reinforced. Group lessons also present the opportunity for students to work on duet/ensemble pieces. This enables students to work on collaboration, foster inter-studio relationships and provides a motivating medium to encourage music reading—a very necessary prerequisite to learning and performing ensemble literature, accompanying or reading any sort of music just for fun.
c. WHY GROUP LESSONS? (VIOLIN STUDENTS)
The group component of the Suzuki method is crucial in a student’s musical development and study. It is the ideal medium to work on and reinforce techniques and musical concepts learned in the private lesson. Additionally, students learn more advanced techniques through review of previously learned pieces; become musically flexible by accepting and reacting to differing interpretations; improve direction-following skills; begin orchestral or small ensemble preparation; learn the value of teamwork and foster inter-studio relationships; offer and receive constructive criticism in a positive environment; become motivated through both a social and educational environment; and prepare for group and solo performances.
d. DOES MY STUDENT HAVE TO ATTEND GROUP EVERY WEEK?
Depending on your child's book level/age group, options for group classes can range from 1-2 sessions per month or weekly. As your teacher, I will make a recommendation as to which group schedule would most benefit your child, but it is your decision how often you want to commit to group lessons.
3. WITHDRAWING FROM/QUITTING LESSONS & LESSON TERMINATION
a. MY CHILD HAS SUSTAINED AN INJURY/IS TOO BUSY FOR LESSONS, WHAT CAN BE DONE?
In years past, I have had students who have had to temporarily withdraw from lessons for a brief period due to injury (broken hand/arm), or due to extracurricular activities and sports. First and foremost, I am not a proponent of giving students a hiatus from music lessons. I do appreciate the fact that many students can have lots of commitments and activities that compete for their time, in addition to music lessons. However, it is possible to condense the lesson assignment for very busy students who may only have minimal time to practice every day; and for students who have sustained an injury, it is still possible to continue lessons while recuperating. (There is a lot of “one-handed” literature now in print for piano students, and violin students can spend time reinforcing their bow hold or left posture and fingering. Further theory instruction is a great option for either instrument as well.)
b. WHAT IS MEANT BY 'LESSON TERMINATION DUE TO LACK OF PRACTICE'?
With regard to lesson termination due to lack of practice, I do not want parents and students thinking that I am going to "fire" students just because they do not practice. The dynamic of the music student has changed significantly since I was a music student. Students do periodically go through lapses of not practicing (some longer than others). This is entirely normal, and is not a reason for your child to consider quitting, or should cause them to wonder if I will be asking them to go study elsewhere. Failure to practice consistently, by my definition, refers to students who are repeatedly reminded to practice, but clearly do not put forth the effort to practice due to lack of interest, commitment or sometimes sheer laziness. These are the students who fail to sufficiently prepare pieces for a recital or Festival when they previously committed to do so, or do not progress in the repertoire for months and months at a time. (A more recent example of this is a of a transfer student who began lessons with me in September, and then never practiced (not once!) between September and May!)
In situations like this, it often makes me feel that not only are parents wasting their money on lessons, but my time is being wasted as well in the sense of not being valued. I enjoy teaching and being able to share my love of music with students, and it makes me feel "devalued" when students do not seem to care to put forth any effort to practice or are ambivalent or unengaged at their lessons. When students do not show an interest or put forth any effort in taking their lessons seriously, it makes the whole experience less enjoyable for everyone involved. (Please keep in mind that discussion of this "type" of student is with reference to the exception and not the norm.) Should your student ever get to this point, I will request a conference with the student and parent to discuss and evaluate how serious the student is in "getting back on track". Should the student decide to continue with lessons, they will be placed on "practice probation", which stipulates that the student is "contractually" obligated to "shape up" or they will be asked to find another teacher. During "practice probation" all parties involved will draw up a contract which will stipulate a set minimum daily practice time and number of days of practice per week. The student will have 2 months to show some improvement (and adhere to the contract); obviously, this improvement should extend beyond the two months as well. A weekly report during the 2-month probationary period is required.
4. MISSED LESSONS/RESCHEDULING LESSONS
a. WHAT HAPPENS IF WE MISS OUR LESSON?
Music lessons are considered to be in the same vein as dance recitals, sport practices, or college tuition—you are paying to reserve a slot in the studio. Lessons and classes are not made up when your child is sick or has to miss due to a scheduling conflict. As such, tuition is non-refundable, and deductions or refunds from tuition are not allowed. Furthermore, missed or unattended lessons are forfeit. This includes lessons for which a student neglects to show up without notice, or for which I am notified after the fact. Please be prompt in arriving for your lesson on time. Students who arrive late will receive only the time remaining during their scheduled time. Notification of absence given right before your lesson time; during your lesson time; or after your lesson time will not be rescheduled.
5. MUSIC & MATERIALS
a. DO YOU USE A PARTICULAR PIANO METHOD WITH YOUR STUDENTS?
As your child’s teacher, one of my tasks is to find a method (or design a syllabus) that works well for your child. There is not a holy grail of piano methods, though I often wish there were! That said, for young beginning piano students, I love to use one or more of the following: Perfect Start to Piano; Piano Made FUN; Piano Pronto; Piano Safari; or Succeeding at the Piano. For beginning through early intermediate piano students, I will typically use one or more of the following: Piano Adventures (or Accelerated Piano Adventures); Piano Pronto; or Succeeding at the Piano. For piano students beyond use of a method book (intermediate level and above), I typically will use Keith Snell’s Piano Repertoire series and supplement from the Royal Conservatory texts and lists, in addition to using other supplementary literature.
b. WHAT ABOUT FOR YOUR STRING STUDENTS?
For string students, the core method used is the Suzuki method, although I do use supplementary texts and exercise/technique books where appropriate. Cassia Harvey’s fabulous violin books are a staple.
c. CAN WE BORROW MUSIC FROM THE STUDIO (YOU, THE TEACHER)?
I do not permit students to borrow music or loan out music of my own. I have thousands of dollars invested in my own music library, and when loaning music out, there is always the risk of the music becoming damaged or lost. As such, and due to copyright laws, you are required to purchase and pay for ALL music needed for your student. However, I do try to keep some gently used copies of method music on hand to loan out for a nominal rental fee for circumstances where purchasing music is not financially viable. Please speak with me for additional information.
d. HOW/WHERE CAN I PURCHASE MUSIC & MATERIALS FOR MY STUDENT?
To make it easier in obtaining materials faster, I suggest purchasing materials from the studio. (Of course, you are more than welcome to visit the music store (or go online) and purchase the materials yourself; although sometimes as a teacher, I am able to purchase materials at a discounted rate.) An invoice for these materials will either be sent to you via e-mail or can be viewed by accessing your account at the studio website.
e. DOES MY STUDENT NEED A METRONOME?
All students at some point will need a metronome for practice. The best metronomes are the ones that are not electronic (with the annoying "beep"), but are the manual metronomes usually made by Wittner. The cost of a good metronome can range anywhere from $30-90 or more. I can usually get a fairly good deal on metronomes if I buy them in bulk, so if you are ready to purchase a metronome, please let me know.
f. WHAT HAPPENS IF WE LOSE OR FORGET OUR MUSIC?
The majority of my students (and parents) are meticulous about coming prepared for their lesson each week. However, every once in a while, a music book does get left by mistake at home—I know that it happens. In the event that this happens, do not feel that you are in trouble or should not come to your lesson. We will make do without the book for the time being until the following week. That said, do not operate under the assumption that I have duplicate copies of every book that your child is playing from.
In terms of lost music, if after 1-2 weeks, you think that the music is genuinely missing, you will need to purchase a replacement copy. In more extreme cases (where a student continues to forget their music books), if your student comes to lessons missing a specific book of music 3 weeks in a row, at the third lesson you will be required to pay for an additional copy of the same book in question to keep at the studio for your student to use at their lesson each week. (And if you cannot find the missing music at home, you will be required to purchase 2 additional copies for at-home and at-studio use.)
Violin students should obviously do their best to remember to bring their instrument, shoulder rest, rosin, foot chart, etc. for the same reasons. I do not have instruments on hand in the event that you leave your instrument at home.
6. LESSON CONDUCT & COMMUNICATION with TEACHER
a. WHAT IS THE BEST WAY TO CONTACT YOU (THE TEACHER)?
Probably the quickest way to get in touch with me is via email/text. For questions regarding scheduling or incidental questions that do not require a lot of explanation, it is easier to conduct this exchange of information via email/text if possible. That said, you are more than welcome to call and leave a message for me to return regarding questions that would require a more lengthy explanation or conversation. Please refrain from calling my home phone number, as I rarely answer/check messages coming to that number. Please use the designated studio phone number which is 208-736-7181.
Please note that I do not answer the phone during teaching hours. I feel that it is very disrespectful to students for me to answer phone calls during their lesson, and so I do not typically answer the phone while I am teaching. This being the case, I often cannot return calls during the school year until the following morning. I also have two happy and noisy children in my home who can make it difficult for me to get to the phone at times. J Please refrain from calling the studio between the hours of 9:00pm-9:00am.
b. CAN I ASK QUESTIONS DURING THE LESSON (PARENTS)?
Questions during the lesson are permitted so long as it is a quick question that I can answer in 10 seconds or less. Jot down any questions you may have in your notes. If there is time at the end of the lesson to ask your questions, I will be happy to answer them. If there is no time left at the end of your lesson to answer these questions, please plan to correspond with me via email regarding your questions during the week.
I would ask that you politely refrain from imposing on my schedule (as well as that of the next student who is patiently waiting to begin their lesson) by attempting to ask me questions during another student's lesson time (beyond your lesson time). I do not think that anyone appreciates coming to lessons on time, and then having to wait an additional 10-minutes to start their lesson (thereby starting their lesson late), because they are waiting on the previous student to end their lesson and exit . Please help me to be professional and stay on schedule by keeping your questions confined to your lesson time only. Obviously, if you would like more time to have your questions answered, you may schedule and pay for additional lesson time.
c. WHAT IS THE “MILLION DOLLAR LESSON”?
The “Million Dollar Lesson”: If a student fails to cooperate in a lesson, as the teacher, I may end the lesson right away regardless of how much time is left in the lesson. (Disruptive students at group lessons may be asked to sit out for the duration of the group lesson for the same reason.) Please see this as a learning experience and discuss what happened and how to correct it for next week. My teaching philosophy (and the Suzuki philosophy) are about more than just music study—being respectful and following directions right away is a lesson worth a million dollars!
7. PERFORMANCES: STUDIO, HOME & BOOK RECITALS
a. HOW OFTEN MAY/SHOULD MY CHILD PLAY IN STUDIO RECITALS?
Students are encouraged to perform in at least ONE recital per semester, though they may perform more than this if they so desire and have repertoire prepared. Typically, I do not recommend recitals for beginning students until after the first year of lessons has been completed, (which for violin students is after the completion of the Twinkle Variations & Theme). Transfer students are evaluated on a case-by-case basis.
b. ARE THERE ANY REQUIREMENTS TO PARTICIPATE IN STUDIO RECITALS/CONCERTS?
Recital participation is largely contingent on whether your teacher feels that your child is prepared to play. I do not permit any student to play at any recital unless they are well-prepared, that thereby recital experience may be a positive one. Recital jitters and anxiety will happen with any performance, but if these occur with a student who is also ill-prepared to perform, it usually spells disaster.
Typically, I prefer that repertoire for all recitals MUST BE MEMORIZED, with the exception of ensemble pieces. I do so with the intent of holding students to a higher standard and encouraging them to be more diligent about preparing sufficiently to do well. Recital pieces are usually selected 4-8 weeks prior to the actual recital. This allows ample time for your student to learn, memorize and polish their piece to recital-worthy standards. However, in order to perform any piece at recital, the piece in question must be deemed “passed off” at the latest two weeks prior to recital. Obviously, if your child misses their last lesson, they may not be permitted to play at recital.
c. WHY DO YOU ASK THAT STUDENTS MAINTAIN THEIR POLISHED SOLO REPERTOIRE FOR THE ENTIRE SCHOOL YEAR?
Mostly, I ask that students maintain their polished solo repertoire so that they have an easily accessible selection of pieces to choose from to play at a moment’s notice. Additionally, each year in May, students are encouraged to hold an individual solo recital, either at home or in a formal setting. At this recital, students are expected to prepare and play at least 5-10 favorite pieces polished and memorized during the past school year. (Preparation for this solo recital hinges on students reviewing these previous pieces, so reviewing previous pieces is encouraged to minimize stress!) If performing at home, a performance sheet and instructions will be sent home with your child, and then returned to me the following week. If the performance is planned for a more formal setting, then students are expected to prepare as they would for a studio recital.
d. WHAT IS REQUIRED TO “GRADUATE” FROM EACH SUZUKI BOOK (VIOLIN STUDENTS ONLY)?
Upon completion of a Suzuki book, a Book Recital is held for the student to showcase what they have learned and to officially recognize that the student has officially graduated from the level. As your student draws closer to completing a book, we will discuss which pieces he/she will be expected to play at this recital. Pieces must be memorized, as well as up to performance level standards. (If students are reviewing consistently and attending group lessons, there will be little or no stress associated with preparing the book recital.) Students (notice I did not say parents) are tasked with choosing who to invite to their book recital, i.e., family members, school friends, or fellow students. Parents and students will be in charge of organizing invitations, as well as setting up the location of the recital. Your teacher will provide the programs. If you are unsure where to begin, do not hesitate to ask your teacher for assistance.
7. PARENTAL INVOLVEMENT & HOME PRACTICE
a. WHAT IS YOUR DEFINITION OF PRACTICE & WHAT DOES IT ENTAIL?
Music study and practice at home should receive the same priority as homework or sports. Students are expected to make their best possible effort to focus on and practice the techniques and pieces learned at their lesson. It would be ideal if the student would come to their lesson ready to play what they have practiced during the week, but I realize that certain circumstances may prevent a good week of daily practice. If this occurs, your child should never feel that they should not come to their lesson for fear of chastisement. If anything, your child should come to their lesson so that we can review their assignment together, and make sure that they understand what to do when they do find time to practice.
b. DO YOU HAVE A PRACTICE REQUIREMENT?
I do not have an "official" practice requirement in my studio, but most students quickly come to the realization that in order to succeed and excel in my studio, they have to put forth some effort and actually practice. Due to my own experiences as a music student, and my training, as a teacher I demand a lot technically from my students. Yes, it is great if a student can play a piece, but can a student make the piece sound like more than just a bunch of notes? And when note reading, does the student actually read the notes or rely on the ear exclusively to guide them through—sometimes haphazardly? I do not expect every piece to be perfect; but I have a very good idea what each one of my students is capable of achieving. As such, I will push them to strive for their own individual level of perfection. Generally speaking, what your child gets out of their lessons is very dependent on what effort they put into preparing for their lessons each week. Although I do not have a blanket requirement for every student, there is an "unspoken" expectation as to what I would like to ideally happen with practice.
To begin with, a week's worth of practice constitutes exactly 7 days of practice. In a perfect world, students would have no problem practicing every day of the week before their next lesson, but that tends to be the exception and not the norm. This being the case, it may take 2-3 weeks to get that 7 days of practice. Another way to look at it would be to think of it as practicing for approximately 15 hours before your next lesson. Again, most students do not typically spend 15 hours practicing each week. The point is that there is no set schedule for how quickly or slowly your child will progress. Most often, your child’s rate of progress will be dependent upon how much conscious effort they put into their practice. Therefore, the more consistent and in-depth your child’s practice is, the faster they will progress. Obviously, a child who consciously and with great attention to detail practices every day of the week (7 days) and averages 15 hours of practice is going to progress faster and demonstrate more technical development than one who practices for fewer days and less time.
Parents need to help with establishing good home practice. Sit down with your child and together negotiate a set time to practice 5-7 days out of the week if possible. Studies, as well as comments from parents, indicate that a set time of practice every day greatly increases the chances that your child will actually practice! It is usually a good idea if you can stipulate that homework and practice must be done before leisure or fun activities.
Typically, the minimum length to practice each day is based on the length of your child's weekly individual lesson. If your child has a 30-minute lesson each week, then they should be practicing for at least 30-minutes each day. However, practice should be more than just the lesson length. In order to build up the stamina required for lessons (and group lessons), your child needs to actually be practicing longer than their private lesson length in order to be able to make it through their weekly lesson without complaint. Additionally, we are also trying to build the focus and concentration of your child. Age should not be a factor in determining the amount of time spent practicing.
In light of this, practice at home should equal DOUBLE what the lesson length is. Why? Typically, home practice tends to be inefficient in comparison to practice at lesson with the teacher. While at your lesson, your teacher keeps your child focused and on task. Concepts are taught and repeated with minimal commentary from students; and students usually are more respectful toward their teacher in following and complying with directions and instructions. At home, there is a tendency for students to dilly-dally or make up excuses to not practice or to take lots of breaks. And, yes, tantrums and arguments can be a common staple of home practice too.
A doubled practice time? Yes, it sounds a little daunting in theory, but this is not a change that has to happen overnight or even right away. Start small. When increasing daily practice time start by adding just 5 minutes to the total daily practice time each week. A child who typically practices 20 minutes (and should be practicing for an hour) will be well up to practicing for an hour in about 2 months, which is much more manageable than requiring an hour's worth of practice out of the blue. Children have to gradually build up their stamina to practice that long.
For younger students, this may mean breaking up the total practice time into smaller increments during the day. For older students, daily practice time can be done in one large chunk or broken up into smaller increments as well, but the time spent practicing should be far longer than for a beginner in order to accommodate the advancing repertoire. Obviously, the more advanced a student becomes, the more it becomes a necessity for them to dedicate additional time to practicing. Theoretically, beginning students should average 5-7 days of practice with a total practice time of at least 2-7 hours per week, while older students should average 5-7 days of practice with a total practice time of at least 3-14 hours per week. (This is a very generalized rule of thumb on practice.)
One thing to keep in mind is that with practice, we are looking for consistency. Consistency in your child's practice each week will also allow them to have consistency in their overall technique; review pieces will be played with more proficiency; will help to build your child's confidence; and will ensure that they have a more positive attitude toward their instrument.
c. WHAT ARE YOUR EXPECTATIONS FOR PRACTICE?
Good practice entails playing a piece through several times in entirety each practice, as well as isolating "difficult" or "stumble" sections and repeating those specific passages several times until they become perfected. Listening to the recording of a piece (if available) and/or practicing with the recording is always a good idea too. If you need additional ideas or pointers as to how you should be practicing, please ask your teacher for suggestions.
d. MY CHILD HAS THEIR LESSONS ASSIGNMENT WELL PREPARED FOR THEIR NEXT LESSON. CAN WE GO AHEAD AND START THE NEXT PIECE(S)?
Please refrain from going ahead of what you have been assigned to do for your weekly lesson assignment, regardless of how "bored" your student may become with this assignment. (Reviewing previous pieces is always a "safer" idea than going ahead.) Often students and parents may have the best of intentions, but if that first “imprint” of a piece or concept happens to be incorrect, we will have to spend additional lesson and practice time relearning it correctly. Save yourself (and your child) the frustration, and just wait until your next lesson. That said, there will come a time where I will assign your child to work on a new section, or sight-read a piece, independently and without the assistance of the teacher at home. In those instances, do your best to be thorough in your practice--observe the counting, dynamics, watch the skips, steps, etc.--BUT DO NOT GO AHEAD, UNLESS YOU HAVE BEEN TOLD SPECIFICALLY TO DO SO BY YOUR TEACHER.
8. COMING TO LESSONS
a. HOW EARLY SHOULD WE ARRIVE FOR LESSONS?
If you are the first student of the day (morning or afternoon), please refrain from arriving no more than 5-minutes earlier than your scheduled lesson time. For all other students, please try to refrain from arriving no more than 5-10 minutes earlier than when your lesson is scheduled to begin. If you are waiting in the waiting area, please wait quietly–it can be terribly distracting to students during their lesson if you are talking (loudly). (Earlier arrivals need to be cleared with the teacher first.)
b. CAN MY OTHER CHILDREN PLAY IN YOUR YARD DURING MY STUDENT’S LESSON?
Children should not be left unattended in our yard. It is acceptable for children to sit in the yard or run around, but please do not climb the trees or the fence, do not pick the flowers or plants, do not go into our home, or use the wrap-around porch as a running and play area (including climbing on the railing). Please treat our yard with the same courtesy and respect that you would your own. I am not liable for anything that happens to children left unattended in our yard.
c. DO YOU HAVE A RESTROOM AVAILABLE?
There is a restroom available for absolutely necessary situations. I ask that you treat the restroom with the same courtesy and respect that you would your own, and help to keep things neat and sanitary for the rest of my studio families. Please try your best to use the restroom either before or after your lesson. I would ask that you try to refrain from using the restroom right when your lesson is scheduled to start or in the middle of your lesson if at all possible.
d. WHAT SHOULD MY CHILD DO WHEN THEY ARRIVE FOR LESSONS?
Below is a checklist of what you should do when coming for your lesson:
- Bring your music and lesson assignment book
- Come directly into the studio when you arrive (knocking is not necessary)
- Remove your shoes and place them on the rug by the door
- Make sure you have clean hands—wash or wipe your hands if they are dirty, or if you have just had food
- If you need to use the restroom, please try to do so either right before or immediately after your lesson. Please refrain from using the restroom right when your lesson is scheduled to begin or in the middle of your lesson.
- Spit out any gum! (Chewing gum will negatively impact your counting; and makes for bad violin posture.)
- Make sure your nails are trimmed
- Put up your practice (and write in times) and listening stickers
- Have your music and instrument (violin students) out and ready (Students should start getting their instrument out and ready as soon as they arrive for their lesson, even if they are early. It is not the best use of your lesson time if you wait until the start of your lesson to get ready.)
- Quietly wait for your lesson to begin
- Following your lesson, you are welcome to wait inside until your ride arrives, or outside if you prefer (weather permitting)
a. WHY SUMMER LESSONS?
My summer lesson "soapbox": Taking a vacation from music lessons for three months can impede the learning process when the student returns in the fall. Usually, students who do not take lessons throughout the summer months typically spend the next few months in the fall relearning things that they have forgotten. This is akin to the review that often takes place in schools at the start of each school year; so it is in your child's best interest to take lessons during the summer if possible. Students who decide to forgo summer lessons often begin the summer with the best of intentions to keep up with their practice (without lessons); but their effort usually falls short simply due to the fact that without that "evaluative" lesson each week, the necessity of practicing becomes less of a necessity. There is a tremendous amount of muscle memory and technical coordination that goes into studying any instrument. The occasional break or short vacation (typically a few weeks in duration) does not usually hinder the learning process, but a summer-long hiatus can easily undo a school year’s worth of refining and honing these skills. It can be incredibly frustrating to come back in the fall and discover that the perfect bow hold, or round fingertips for piano, that we worked so hard on all year long no longer remain quite so perfect!
The summer can be a great time to get ahead for the fall. Without the chaos of school, there suddenly is a lot more time to practice! With that in mind, if your student is preparing a sonata for Sonata Festival (piano students only) in November (or is planning to participate), it would help tremendously if your student continues to take lessons during the summer months; especially for those students who will be preparing longer and more technical sonatas. The same goes for students who may be preparing concerto or ensemble events for Festival.
10. LESSON STRUCTURE & COMPONENTS
a. DO YOU TEACH MUSIC THEORY? WHY IS THEORY IMPORTANT?
Students are required to study music theory as well. As rudimentary and ‘boring’ as theory may seem to some students, it is the ideal way to reinforce concepts that students are learning including note recognition, counting, dynamics—all concepts related to sight-reading.
11. PIANO STUDENT RELATED QUESTIONS
a. WHY DOES MY PIANO STUDENT NEED TO REVIEW PIECES?
Reviewing pieces is crucial from the standpoint that most piano students simply do not do it, and they really should. Examining this topic in terms of a method, pieces tend to build upon concepts introduced in previous pieces. Students who spend some time reviewing each week and memorizing pieces regularly progress much faster and play more proficiently than students who do not review. Reviewing also means that your child has an easily accessible repertoire, which is great for those situations in which your child may be asked to spontaneously play something for a grandparent, friend, etc. It is much easier to play something you know well (i.e., a well-rehearsed review piece) rather than something you are just beginning to learn (i.e., playing a piece lacking correct notes, counting, dynamics and overall is a work in progress that was just started at your lesson a few days ago).
b. MY STUDENT DOES NOT LIKE THEIR METHOD BOOK PIECES AND TELLS ME THAT THEY WOULD PREFER TO PLAY MORE POPULAR/CURRENT SONGS INSTEAD. CAN MY STUDENT LEARN “FUN” MUSIC INSTEAD?
Music lessons are a serious thing. My goal in teaching students is not to make music “fun”, but enjoyable, and there is a big difference between the two. Piano students below an intermediate level will be expected to continue through a method until the completion of the entire method’s sequence. If a student does not have a solid foundation from which to draw from, learning more mainstream, popular music will prove to be very cumbersome. Popular music, while not compositionally as intricate as Mozart or Beethoven, can be not only rhythmically challenging, but a sight-reading nightmare for any student lacking in the fundamentals. Sometimes I will add in the occasional “request” for a popular music piece (more simplified versions, usually). However, popular music should not be used as a complete and total substitute for standard literature or method book pieces. Popular music may be used as a supplemental piece, but should not take precedence over method pieces. Nor should it be the only thing your child practices during the week while neglecting to practice the rest of their lesson assignment. Popular music repertoire being taught is contingent upon the rest of the lesson assignment being practiced. If progress, in terms of the method repertoire, is not being made, popular repertoire pieces will be dropped until the student can get back on track.