Looking to the Past
Could a forgotten, centuries-old "one-room schoolhouse" teaching method hold the key to unlocking natural musical ability?
When it comes to music teaching, we wish we could turn back time! Could a forgotten, centuries-old "one-room schoolhouse" teaching model hold the key to unlocking natural musical ability? Let's take a look at what happens (and doesn't happen) during today's modern private lessons.
Nothing against our childhood music lessons (I dearly loved my piano teacher, and modeled my first 20 years of music teaching after her). But, after decades of teaching the usual 30-minute weekly lessons, we've made a discovery: the private lesson is BACKWARD!
If you've ever experienced private lessons, they were most likely 30 minutes once a week (mine were, too). Between lessons, on your own, is when you were expected to make the real progress - to remember what was taught/fixed during the lesson, make improvements, memorize stuff, drill on exercises and scales. Then, at the next lesson, the pressure was on to present all that...perfectly...then grab the next assignments. Your teacher sat next to you, ever at the ready to correct mistakes (sometimes before you even made them!). There's a problem with these "traditional" private lessons, and it puts music learners at a huge disadvantage, without even realizing it. Let's examine some serious and obvious flaws with that model...and how to fix them!
Flaws with the traditional private 30-minute weekly lesson:
LESSONS ARE TOO SHORT
Thirty minutes is simply not enough time to cover everything necessary to make fast musical progress, or to allow students to make a true physical connection to music (at any age!). It might be, if perhaps a student consistently showed up to each lesson ready to play the assigned songs at tempo perfectly, completed all exercises flawlessly, took initiative to work on sight reading new songs during the week, correctly completed pages in their theory workbook, memorized the upcoming recital song. More likely, the student practiced something incorrectly that will then need to be fixed (there goes the rest of the lesson time), ran into struggles and didn't practice everything, forgot about the sight reading, left the theory workbook at home, or didn't practice at all (the lesson is then spent repeating everything from the previous lesson).
You remember your childhood lessons, right?...and feeling like you were on the hot seat, breathing a sigh of relief when it was over. There's a bit of pressure on students during a 30-minute private lesson, with the teacher right beside the whole time, watching your every move and at-the-ready to provide corrections. What the student practiced (or didn't) during the previous week is about to be closely examined and critiqued for mistakes. Personally, I recall being so nervous during my childhood piano lessons that most of what my teacher said was white noise. Nerves during a lesson can severely inhibit students from truly absorbing new information and making a deeper connection and understanding of their music.
Unfortunately, unless you happen to be the child of a piano teacher, all practice during the week (if there is any) goes unsupervised and unchecked by the teacher. Even the most dedicated practicers work in mistakes and poor habits that need to be "un-practiced" at the next lesson. Another common occurrence is that students may not realize how much time should be spent practicing, and will simply skim through playing their songs rather than mastering them.
LACK OF MASTERY
In traditional 30-minute lessons, the bulk of the lesson time is spent either fixing mistakes or introducing new concepts and music. There is little remaining time for the student to play repeatedly and to truly absorb something new. Repetition and mastery of songs is expected to be done during home practice, and the student is left to decide where that barre is.
LITTLE OR NO SIGHT READING
With little or no time during a lesson to practice sight reading (sight reading is the skill of being able to play through a new piece of music almost perfectly without having practiced it beforehand), this skill is often neglected and very underdeveloped in most students. As sight reading becomes more challenging, it's not likely students will put it in their Top Five list of things to work on during the week.
LITTLE OR NO PERFORMING
We're not talking about actual formal "performances" here, like recitals or competitions. We mean there is little or no playing in front of people (friends, family, other students). Students might eventually get used to playing comfortably in front of their teacher, but any other playing/practicing is probably done in solitude. Performing and learning to be comfortable playing for others is a skill rarely practiced (no wonder recitals can be such nerve inducing events).
POTENTIAL FOR A WEAK FOUNDATION
When you're building something -- a house, a bridge, anything -- where do you start? How do you build it so it stays in place, doesn't shift or fall so that you can finish the project without endlessly starting over? By putting down a solid FOUNDATION. Without it, music lessons are like constructing a building on quicksand...and a waste of your time. You will still learn some skills along the way, but you're in danger of the slightest "earthquake" setting you back, making you feel like you're not getting any better, or that you can't be as good as the "talented" students. If the weekly lesson format and length simply don't allow time for a student to comfortably absorb basic skills and concepts, it's likely those skills will never become "natural".
So, what's the solution?...and the secret to amazing progress, and becoming a great musician? How do we build a solid foundation?
The solution (and the secret to getting really, really good) is in a lesson design and restructure that addresses the issues of lesson length, nerves, unsupervised practice, lack of mastery, under-developed sight reading skills, under-developed performance skills and anxiety, independence....that allows students to subconsciously and innately absorb music, and master those foundation skills - DURING THE LESSON! At The Music Studio, we've essentially taken a cue from the one-room schoolhouses of days past, and created a lesson structure where students learn and work within the same classroom (quietly, of course, with headphones), practice independently and confidently at their perfect pace, and on their own personalized lesson plan. Furthermore, we want PARENTS to feel that sense of "Lesson Success". We want to make sure students have conquered any musical and technical issues during their lesson so playing at home is actually FUN -- never a chore, and never a battle. And, that they feel confident showing off - performing - what they can play.
How do we know this works?
What we notice the most with our lesson program is that students move easily and quickly through their lesson books -- twice as fast as they would with traditional private lessons (we have the book orders to prove it). Student outlook has changed, as well. They look forward to their lessons (parents tell us), and are confident warming up on their own when they arrive. In private lesson days, if we had said to our students they should learn their next song within an hour, they would have looked at us with despair. Now, they come to lessons knowing they'll master many new songs (with time left over to review old ones) before they leave.
We hope you'll check out more of our articles here....and be sure to visit the rest of our website!
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Your teachers here at The Music Studio want to share their insight on our Music Lessons and provide the tips and tricks needed for a successful music education!