Klarinet Archive - Posting 000435.txt from 2000/04

From: "Patricia Smith" <pattiesmith@-----.net>
Subj: Re: [kl] Student motivation (or lack thereof)/ Lame Excuses
Date: Tue, 11 Apr 2000 01:24:19 -0400

Matt Goff wrote:

"I do not think that a week of no practice must necessarily result in a
wasted lesson time. I do think that the younger the student is, the more
likely it is to fall on the teacher to keep the lesson from being wasted.
One person on here mentioned that his/her teacher gave a lesson on working
reeds one week, for example. "

You make a good point, Matt, when you say no lesson time need be wasted just
because a student might have not practiced or had forgotten a horn. This
presupposes how well a teacher knows a particular student and how aware the
teacher is of the reasons the student takes lessons. I agree that one
should attempt to teach other things in the lesson if the horn cannot be
played (I seem to have a spate of students with unplayable horns lately.)

Matt Goff also wrote:
"I think in private instruction there can be a great deal of latitude for
the teacher and the student to come to an understanding about what is going
to be taught and how."

I think it is critical for the student and teacher to be able to agree on
what the student wants to learn, and even on what reasons the student wishes
to learn an instrument. I have a new piano student who was force fed
classics by her last teacher. So far it looks like I will work with her
more on listening and ear skills, as she wants to be able to play more
difficult arrangements of pop tunes. This is not to say we won't use a
method book, or play any classical tunes; but I don't want this kid's talent
to get wasted because I wasn't aware of what her needs are musically and
personally. In return, I expect assignments to be done, and pieces to be
practiced. This is especially crucial in learning how to hear and write
down chord changes, because, the way I (so far) plan to work with this young
lady, is that we purchase a piece or collection of pop tunes and choose one
to work on. Then she gets a recording of it and we listen together and
follow along with the music. The crucial part is being able to continually
on your own hear where the chords change and which tones move on to another
chord tone and which ones (if any) are shared between chords (as most of you
doubtless know). My goal is to connect what is written on the page and what
it heard by the ear. I play both by written music and by ear, and I find
this ability increases my enjoyment of music tenfold.

Matt, good luck with working with young students. I enjoy it immensely.

Patty Smith

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