4 Steps to the Perfect Match
by Amy L. Aberg McLelland, NCTM
If I were choosing a piano teacher for my child …..
…and I did not know who the better teachers in town were…..
Preliminary thoughts
I would not base my decision solely on convenience and cost – just as I would not do this when choosing my child’s doctor, dance teacher, or math tutor. I would base my decision on the personal interview, student observation, teacher qualifications, (see below), and recommendations.
PERSONAL INTERVIEW: After compiling an initial preliminary long list of prospective teachers, then a second, revised shorter list of about 3-10 teachers (see below), I would schedule interviews with each teacher on the shorter, revised list.
OBSERVATION: If any of the prospective teachers will be performing or have students that will be performing in recitals or workshops, I would plan to attend. I would listen for playing that has a sense of rhythm and tonal coloring and expression. I would look for hands that demonstrate a healthy technic. I would also recognize that all students are not created equally – some may have just started lessons, some may have busier schedules than others, and some may simply have more or less innate aptitude for music. However, good teaching can still result in competent, clean, solid performances where students look and sound “prepared”.
TIME FACTOR: I would realize that this entire interview/observation process could and most likely would take many months. It may even be necessary for my child to wait for a year before starting lessons if they are placed on a waiting list. I would be willing to do this. I would avoid studying with a 2nd choice teacher ‘until the first choice teacher has an opening’ because there are too many bad habits which could be established, (even in a few lessons), which may never be erased – whether involving practice technique, performance technique, physical technique, or even the child’s initial enthusiasm and motivation. The idea of studying with a less-qualified teacher ‘until the student gets more advanced’ is dangerous and foolish. Would you let your teenage neighbor teach your son Karate, “until he gets advanced”? The child will most likely never be able to advance due to faulty practice habits or technical form at the instrument. The child’s future interest in music in general may be damaged if a negative spin is put on things. Hence the entire endeavor was most likely wasted money and time.
Step 1: Compile an initial list of prospective teachers to be interviewed.
I’d first contact the Golandsky Institute to find a teacher that had been thoroughly trained in the Taubman approach. Since expert Taubman teachers are so scarce it is doubtful that most towns would have one, so I would have to evaluate other available local teachers' approaches to healthy technic based on the description below.
First, I would contact ALL of the following sources and compile a long, preliminary list of prospective teachers.
Source #1: MTNA (Music Teachers National Association)
Obtain a listing of the Nationally Certified Teachers through the Music Teachers National Association. While teaching styles and experiences will vary among Nationally Certified teachers, at least this a good starting point. The certification process is quite exhaustive and demanding, requiring renewal every several years. This guarantees the continued professional development of the teacher. If there are no certified teachers in my town I would find the closest city and contact a certified teacher (or several teachers) to see if they know who the better teachers are in or near my town. (Established teachers generally know the better teachers in their state. They regularly judge competitions, attend music teachers conventions and workshops, and have students who participate in statewide recitals and events. The better teachers in Mobile will most likely know the better teachers in Birmingham --- the better teachers in Birmingham will probably know the better teachers in Gadsden or Anniston etc.)
Source #2: Local music teachers groups
I would contact the current contact person (president, vice-president of membership or?) of the local affiliate of MTNA and any other important national music organizations related to the specific instrument or type of instruction I was pursuing, (e.g. Dalcroze, or Taubman, or Suzuki). Often, the local music stores will have this contact information, however you might be able to contact the national headquarters as well. Birmingham, Alabama's local affiliate of the MTNA is the Metro Music Forum. Birmingham, Alabama's local affiliate (for music teachers) of the NFMC is The Birmingham Music Teachers Association. I would obtain a listing of all the members who teach my instrument (e.g. piano) AND ARE ACTIVELY INVOLVED, (or have been actively involved), in the organization. I might even try to get their input on which teachers are considered to be some of the more professional, "serious" teachers (knowing that this may mean something, or nothing. But, if I keep hearing some of the same names over and over from several sources, they’ll probably make my list of teachers to call).
I would also ask them if there are any upcoming music teachers programs – for example, masterclasses or recitals featuring students of local teachers/members. If so, I would MOST definitely plan to attend.
If my child’s teacher is actively involved in the local music teachers groups, the student will be afforded more opportunities. Additionally, a teacher’s membership in a professional organization demonstrates his or her interest in continuing professional development. Teachers who are 'plugged-in' are held accountable and will continue to try to find ways to improve their teaching. Ultimately, I’m looking for a teacher who is a lifetime student himself, no matter what number of degrees already obtained. These will be the best teachers. I also want a teacher who still loves music – who still practices regularly and continues to learn new music, even if they do not publicly perform much any more.
Source #3: Local music stores
I would call (or better yet visit) 1 or more local music stores (for example, in Birmingham, Ellis Piano or Alabama Piano Gallery). I would first choose the establishment that specializes in my instrument and has been in business the longest. (If I am looking for a piano teacher, I would look for a store that sells pianos and sheet music.) Then, I would not necessarily speak with the person who answers the phone, but ask to speak with an employee who has worked at this store for many years, particularly one that has dealt with the teachers on a regular basis – i.e. the head of the sheet music department. (As a music teacher, I know the sheet music department people much better than the actual store owners or the piano salesmen). If there is a person in charge of scheduling/overseeing the teacher/studio recitals, I would definitely ask to speak with them. I WOULD DO THIS IN PERSON so that they might have a chance to be more frank. I would ask him/her the following questions:
Question A: Who are some of the better music teachers in town? However, I would phrase this delicate subject matter carefully. For example, I would specifically address several important aspects of teacher qualifications so that this person doesn’t just ‘mention who last walked in the store’, or ‘who just bought a piano’, but really thinks about specific characteristics of each teacher. If the store simply gives a general ‘listing’ of teachers – e.g. based upon zip code - I would NOT use this as a resource. I would need much more detailed information about each teacher. (A child's well-being or safety with a 'listed' teacher can't just be assumed.)
Question B: If I have not been able to obtain a listing of the local music teachers group(s) members, then I would ask if they have a listing of current officers and/or contact information for the local affiliates of: MTNA (Music Teachers National Association); NFMC (National Federation of Music Clubs), or other important groups for my instrument/area of instruction. (If the music store doesn’t have a listing, perhaps another store will, or one of the area universities/colleges).
Source #4: College/University music departments: I would call the music departments of several of the area colleges and universities, (or Fine Arts Schools like Alabama School of Fine Arts). Depending upon the size of the institution I would ask to speak with the music department chair, or the department chair (or main teacher) of my instrument – e.g. chair of the piano department, or the piano teacher who has taught there the longest. I would ask if they knew the names of the long-established independent (private) teachers in the community. Who are the teachers who regularly have winners in piano competitions, who judge, who present workshops, who have served as officers of music groups, who have had more students go on to major in music, who are good musicians themselves, and who are actively involved in the professional music scene? (again, referring to the "Teacher Qualifications", below). I would also ask if any of their current music majors have their early training with any of the local teachers – get these teacher’s names and contact info. If the university has a “community music program” “prep department” “conservatory” etc. which affords the college music majors opportunities to learn how to teach, I would most likely not consider teachers who do not already have their degrees, who are not actively involved in the professional organizations, and who do not have a considerable amount of teaching experience themselves. (My very first teaching experiences involved teaching through the Prep Music Conservatory at my college in Massachusetts. I was very green then, very distracted with my college studies and have learned quite a bit since those years during and immediately after college. I wish I could go back in time and teach those same students again knowing what I know now .. but we all have to start somewhere). So, in summary, if the college/university only recommends teachers who have attended their school, or teach in their prep/community music program, I would only consider these teachers if the same names appeared from other sources as well.
Source #5: Orchestras, Community Chorus, other Civic Music Ensembles:
If my town had any performing groups such as a symphony orchestra, chamber ensembles, a community chorus etc., I would contact these organizations and ask the same questions I asked the music stores and colleges.
Source #6: Piano/instrumental technicians; Arts Council; Public Radio; Online Listings of Music Teachers
If I were looking for a piano teacher I would contact certified piano technicians (tuners) listed in the phone book, or online. (You want input from all of them – because they will each only know about their own customers). I would ask if they knew of any serious teachers in town? Which teachers have well-equipped studios, with a grand piano, and hopefully a 2nd piano for concerti and piano duos. I would not want my child to study piano with a teacher who ONLY uses an upright or spinet or electric keyboard. There will need to be a grand piano for their regular lessons. Which teachers have a metronome on their piano? Which teachers have a computer lab for additional theory drills? Which teachers have additional pedagogical equipment such as chalkboards or erase boards and other pedagogical equipment?
Often, there are instrument repair shops in music stores -- these are usually pretty level-headed, talented musicians that see a lot of "the biz" (music teaching "biz") -- so, this might be an objective source for info on instrumental teachers like saxophone or trumpet. Worth a visit, at least. Additional possible sources: Arts Council, the music departments of prominent area churches, public radio announcers, possibly online listings of piano teachers, and anyone else who might be involved in the local music scene.
Step 2: Revise the prospective teacher list.
I would then try to narrow the list down to about 3-10 teachers with whom I would schedule:
1) an initial phone interview
2) a personal interview and possibly additionally schedule (after the personal interview):
3) opportunities to observe a lesson being taught
4) observation of students’ or teacher’s performances or workshops
I would narrow the list down based on such things as:
1) Cross referencing -- Teachers who were recommended by all the above sources will most likely remain on the list.
2) Feedback from friends/acquaintances. I will try to pick the brain of anyone who studies/has studied with, or has children who study/have studied with any of the prospective teachers. Realizing that it takes 2 to tango, I’ll try to stay objective regarding any negative comments, particularly from students who no longer study with a given teacher. It’s quite possible that the teacher asked the student to leave --- will my friend really admit this to me? However, if I hear the same negative comments from several people, the teacher is most likely off the list.
3) Articles or reviews of teachers/students in newspaper, periodicals, online etc.
4) Teacher’s resumes and descriptions of programs found online or through their studio brochure, if available. If they are not listed online, that doesn’t rule them out. Again, these online listings would never be a STARTING place – just as I would not compile my initial list based simply upon zip codes.
Step 3: Interview/Observe prospective teachers.
The final interview would need to be a ‘live interview’ and not solely phone or e-mail interview. By the time I actually call a given teacher, I would already know their qualifications; the primary purpose of this interview would be to see if personalities match – does my child and this teacher ‘click’? Will my child be able to respond easily to him or her? If a prospective teacher does not offer personal interviews, (sometimes called ‘consultations’), I would see if they would agree to one ‘sample lesson’, (for which I might have to pay). If the teacher is not willing to do either of these I would not study with them no matter how great their reputation. (I would want to avoid the psychological ramifications of having to switch teachers, not to mention the lost time/money and possible lost motivation from being with "the wrong match"). A successful teacher will know the importance of this initial interview. (It might be helpful to realize that, in the teacher’s mind, the student and parent are being interviewed by the teacher.)
In the interview, I would try to deduct as many things from the “Teacher Qualifications” list (see below) as possible. Additionally, I would scope-out the studio layout, equipment, browse any available brochures/newspaper clippings/past recital programs etc.
I would perhaps ask the teacher many of the questions from the MTNA article, “Choosing a Music Teacher" in addition to those noted above.
Sample questions: (from MTNA website article):
• What is your professional and educational experience in music?
• What is your teaching experience? What age groups do you teach?
• How do you participate in ongoing professional development?
• Are you nationally certified by MTNA?
• Do you have a written studio policy? Will you review it with me?
• Do you regularly evaluate student progress?
• What instructional materials do you use?
• What kinds of music do you teach?
• What other elements are part of your teaching curriculum?
• Do you offer periodic group lessons or theory classes and workshops?
• Do you require students to perform in studio recitals during the year?
• Do you offer other performance opportunities for your students, such as festivals and competitions?
• Do you use technology in your studio, such as computers, music instruction software, digital keyboards?
• How much practice time do you require each day?
• What do you expect of your students? Their parents?
Step 4: Consult with my child. List pros and cons of each. After all this research, go with gut instinct.
Teacher Qualification
•It would be of the utmost importance that my child’s teacher demonstrate the healthiest form and technic possible since I would not want my child to ever suffer from pain, injury, or technical limitations that prevent him from advancing to his maximum potential. (The number of injured musicians is astonishing. When I teach at Princeton University in the summers at the Golandsky International Piano Symposium, I meet musicians from around the world who experience tremendous, and sometimes debilitating pain and injuries. All this is avoidable assuming musicians observe certain principles of coordinate motion. Musicians should be able to play their instrument -- whether piano, flute, guitar -- for as long as they want, without pain or limitation. They shouldn't have to stop every 10 minutes to ice down or stretch. It should be, (and can be), as natural as walking or breathing. With beginning piano students, often the cause of this pain is simply because students have been told to "curl their fingers as if holding a ball". "Curling the fingers" like this, beyond their natural curve activates the long flexors, which causes tension, limitation in motion, and often pain..... all which could have been avoided by simply maintaining the natural hand position where the fingers have a gentle curve but do not curl. I’ve encountered musicians who have suffered from quite serious injuries, like the one concert pianist Leon Fleisher suffers with, where their hands would not open from a fist, or where they lose control of specific fingers when they play their instrument. These poor musicians can no longer use a fork and knife, write, type, dress themselves. Focal dystonia and other debilitating injuries are more common than people realize. Other musicians I encounter on a daily basis suffer from tremendous pain, and many have had to stop playing music altogether. Since all of this is avoidable if the musician uses healthy motions, I would want my child to master healthy motions and be able to play his instrument for life if desired, let alone hold his knife and fork.)
•So, I would ask if the music teacher has had any training in the field of Musician Wellness. I would observe how the teacher plays his instrument. Additionally, I would observe how his students play, but only if they had studied with this teacher for several years. While I wouldn’t ask the teacher to “perform” a piece in the interview, (unless they offered), there might be an opportunity to view their hands as they play their instrument throughout the course of the interview. For example, they might play a teacher/student duet, or demonstrate an ear-training drill etc. If the teacher had a video of himself/herself performing, or was giving an upcoming recital, I would definitely ask to purchase a copy of the video, or attend the recital.
•A healthy hand is a virtuosic hand. A virtuosic technic works best with freedom of motion and lack of tension. Someone might say, “I don’t care if my child ever gets advanced in music”. If this person were paying for golf lessons, you would bet they would choose an instructor who would allow their child to be able to develop a form and technic that would allow them to ‘master their swing’ to the best of their ability. How can you enjoy golf if you can never hit the ball successfully? How can you enjoy anything unless you can achieve some sort of success? The “I just want to have fun” mentality needs to be re-examined.
•What does a “healthy hand” look like? How can you recognize a "healthy piano technic" if you have never had training in the field of music wellness? "Like most things in life, playing the piano well can't be forced. The fingers, hand and arm function together as a unit. On the keyboard they should look approximately as they do when they're hanging by your side. The fingers are not stretching or curling. The hand lines up straight with the arm, neither collapsing at the wrist joint nor twisting off at an extreme angle." (John Bloomfield). If I were choosing a teacher for violin (and I don’t play violin), or any other instrument I was contemplating, I would want the musician’s hands to maintain the basic natural hand position – avoiding curling of the fingers or a “spidery-looking” technic where the fingers isolate from the hand/arm and each other. With a healthy technic, the fingers tend to move together – instead of one finger curling, while others are straightening. "If the technique is healthy, the minimum effort is used for the maximum result. Thus, a technique should look easy and effortless, not exhibiting signs of stress and strain." (John Bloomfield).
(Incidentally, knowing that some studies have found that 86% of symphony players suffer from pain and injury -- and a higher % among pianists -- one of my favorite past-times is to closely observe the string players in the orchestral concerts I attend and try to decide which would be among the fortunate 14% who stay healthy. And though I don't play the violin/cello/viola, these observations are illuminating. I can generally tell which hands/arms are moving in a more coordinate manner, and which hands look more "spidery" with hand and arm out of alignment etc. I try to also listen to the music, but I must confess that at some point I'm analyzing coordinate motion. I do this with the people at cash-registers....people typing at computers....playing nintendo...writing....cooking in restaurants.....doing most anything with their hands. Motion is motion -- it's either healthy, or it's not.)
•My child would need to study with a teacher who offers private instruction which is occasionally supplemented with small group theory or performance classes. (In my experience, the teachers who solely offer group classes are not the more serious teachers. When I say “more serious teachers” I mean ones that actually care that the student will be able to play music one day – to be able to read music, perform the music with integrity, enjoy the music-making process etc. “The more serious teachers”, in my definition, are not simply in it for the money. “The more serious music teachers” actually don’t make money, but they make great music, or provide us with future generations who can make great music!
•My child would need to study with a teacher who has obtained at least a bachelor’s degree in music, in the applied instrument I was pursuing. I would not choose a college student or high school student to teach my child. It would be highly unlikely that I would consider anyone without a degree in music. The only exception might be an older teacher, with an amazing track-record of successful students, who grew up in a generation where degrees were not a professional absolute. OR, I might consider someone who had been highly successful as a performer but was now concentrating on teaching, and had been teaching successfully for quite some time – e.g. if I were solely seeking out a pop music/jazz instructor. Even then, I’d prefer to see a Berklee degree.
•I would prefer a performance degree (BM) but might consider a BA if the teacher had several distinct honors in his/her applied instrument (e.g. winning some major competitions, or having presented some significant recitals, or having had students who presented some amazing recitals), or BMusEd (especially if a brass or woodwind teacher). (I offer no advice about selecting voice teachers. This is not my area of expertise. However, the only voice teachers I’ve ever recommended had BM degrees and were amazing singers.)
•The teacher needs to be able to play. Do they have any recordings of past performances? They need to be advanced because, EVEN AT THE BEGINNING LEVELS, this is important as only an advanced pianist will be able to teach FROM THE BEGINNING the skills needed to be able to play artistically and develop musicianship skills that allow a student to master the instrument -- which is when true enjoyment begins.
•I would not choose any teacher who taught 15-minute lessons. I would prefer teachers who only teach 45-60 minute lessons as I know they are more interested in the student’s advancement over simply making money.
•I would prefer to choose a teacher who had also received National Certification in their field. You can visit MTNA.org to find a listing of nationally certified teachers. If there is not a certified teacher in my town, I would look for the closest city/town in my state and contact them asking if they know of the better teachers in my area.
•I would prefer to choose a teacher who had a handful of years of experience, but if a more experienced, highly qualified teacher strongly recommended a recent grad, I would definitely interview with them.
•If my child is pursuing piano study, I would insist that his teacher have a grand piano in the studio.
•My child would need to study with a teacher who has a well-equipped studio - ideally with a large music library, reference library, metronome, a computer for theory drills, good lighting, air-conditioning, pleasant environment etc. If it was a piano studio, I would expect a decent sounding grand piano as well as a 2nd piano available for performing future piano concertos or piano duos. I would also hope that the teacher had recording equipment (even if just a simple cassette recorder); a t.v. with dvd and vhs library would be a great bonus. I would expect to see numerous professional periodicals around the studio – for example, if it’s a piano teacher, several issues of Clavier or Piano and Keyboard. However, I would forfeit some of these latter things for an amazing teacher with impeccable credentials, numerous references, amazing students, and “the perfect match” of personality.
•My child would need to study with a teacher who runs a professional business – they should appear to be fairly organized. At the initial interview, I should be provided with WRITTEN documentation of studio policies, expectations, tuition rates, payment procedures, studio calendar and so on. I would be very skeptical of a teacher who verbally spells out studio procedures and expectations during the interview and would prefer to see something in writing.
•My child would need a teacher whose students play in rhythm, with correct stylistic interpretations. Are their students well-prepared in recitals? Did they perform from memory, unless playing ensemble or chamber pieces? Did they play rhythmically and ‘keep a steady beat’? Did they listen for balance of melody over accompaniment? (Can you hear the melody clearly? Could you hum the melody back?) Where was the recital held? Did the recital venue have a good grand piano? Did they demonstrate a solid and healthy technic? I would hope that the intermediate and advanced level students demonstrate expressive playing with dynamics, (louds/softs), shaping of phrases, observance of articulation (some brief “silences” within the music with important notes emphasized). I would expect that not all the students sound exactly alike – like robots. If I could not attend one of their student recitals, I would ask if they have a recording of a past recital available, or a past recital program. Then, I would look to see that the repertoire was varied – including pieces from all different style periods … baroque, classical, romantic, contemporary, and perhaps even some jazz and original compositions. For younger beginners, it is more forgivable to have several pieces by “Bastien” or “Clark” or “Gillock”, but if a teacher’s repertoire is limited to only one composer (e.g. only pieces from the “Faber method book” or the “Alfred method book”), I would look elsewhere for a teacher. A good teacher will know that not “one method book” will work with all students. A good teacher will know that not one method book will work with ANY student – from the 1st lesson on, students need input from several perspectives. For example, in piano methods, many series will move the pianist into several different modes and ‘hand positions’, whereas many other popular methods will stick to C major ….. forever – and ever – and ever. Most every composer’s series has something good to offer, but no series is sufficient in it of itself. So, if the recital program ONLY has pieces by “Faber and Faber” etc. or “Bastien”, I’m skeptical before even hearing any of the students. If the entire recital program was only different arrangements of “Theme from Titanic”, I’d quickly rule out that teacher. Perhaps 1 arrangement could be o.k., or even 2, (this may be the ONLY piece of music a given child has EVER wanted to play etc.), but I want to see first and foremost, variety. You have to meet each child where they are – and not one piece, style, or composer fits all.
•I would want my child to study with a teacher who has an agreeable personality. This is subjective and specific to each student/parent/teacher relationship. This is why interviews are so important. Personalities must agree.
•I would want my child to study with a teacher who has a good reputation. It would be wonderful to hear input from other parents/students of their studio, in addition to the “sources” mentioned earlier.
•My child’s teacher should be plugged-in to the local music scene, be well regarded by her other peers, and be a member of local music teachers group(s) which will afford my child opportunities to participate in various festivals and special events should he choose to participate.
•My child’s teacher should also offer several studio special events, recitals, and other casual performance opportunities throughout the year.
•If the teacher has presented workshops for other teachers, this would be a definite plus. What was the topic? For whom was it presented? How was it received?
•If the teacher has continued to perform, this would be a plus – but only if it appears that the performance schedule doesn't demand cancellation of lessons and change of schedule. I would definitely expect the teacher personally to continue to practice, learn new music, perform concerti parts and duets with students, and other things that indicate an ongoing love of music, and the making of music. Honest truth? A great teacher NEVER stops taking lessons himself/herself. Again, the best teachers are "students for life"!
Several years ago, I was on a plane to NYC. My "seat-neighbor" asked me if my trip was 'business or pleasure'. I responded, "I'm going to my piano lesson". Needless to say, I got a strange look, and have since learned to respond "business". However, this is actually the heart of the matter. Once anyone accepts that "they know it all" -- they know nothing. To create artists, one needs to be an artist. And a true artist is never satisfied ... never finished. A good teacher would demand the same of his/her students. Truthfully? This is where the FUN of any art form occurs -- the boundlessness of expression and growth. The infinitude of it all.
Good luck with your search! With perseverance and determination, I know you'll find the perfect match.....
Sincerely,
Amy McLelland, NCTM
…and I did not know who the better teachers in town were…..
Preliminary thoughts
I would not base my decision solely on convenience and cost – just as I would not do this when choosing my child’s doctor, dance teacher, or math tutor. I would base my decision on the personal interview, student observation, teacher qualifications, (see below), and recommendations.
PERSONAL INTERVIEW: After compiling an initial preliminary long list of prospective teachers, then a second, revised shorter list of about 3-10 teachers (see below), I would schedule interviews with each teacher on the shorter, revised list.
OBSERVATION: If any of the prospective teachers will be performing or have students that will be performing in recitals or workshops, I would plan to attend. I would listen for playing that has a sense of rhythm and tonal coloring and expression. I would look for hands that demonstrate a healthy technic. I would also recognize that all students are not created equally – some may have just started lessons, some may have busier schedules than others, and some may simply have more or less innate aptitude for music. However, good teaching can still result in competent, clean, solid performances where students look and sound “prepared”.
TIME FACTOR: I would realize that this entire interview/observation process could and most likely would take many months. It may even be necessary for my child to wait for a year before starting lessons if they are placed on a waiting list. I would be willing to do this. I would avoid studying with a 2nd choice teacher ‘until the first choice teacher has an opening’ because there are too many bad habits which could be established, (even in a few lessons), which may never be erased – whether involving practice technique, performance technique, physical technique, or even the child’s initial enthusiasm and motivation. The idea of studying with a less-qualified teacher ‘until the student gets more advanced’ is dangerous and foolish. Would you let your teenage neighbor teach your son Karate, “until he gets advanced”? The child will most likely never be able to advance due to faulty practice habits or technical form at the instrument. The child’s future interest in music in general may be damaged if a negative spin is put on things. Hence the entire endeavor was most likely wasted money and time.
Step 1: Compile an initial list of prospective teachers to be interviewed.
I’d first contact the Golandsky Institute to find a teacher that had been thoroughly trained in the Taubman approach. Since expert Taubman teachers are so scarce it is doubtful that most towns would have one, so I would have to evaluate other available local teachers' approaches to healthy technic based on the description below.
First, I would contact ALL of the following sources and compile a long, preliminary list of prospective teachers.
Source #1: MTNA (Music Teachers National Association)
Obtain a listing of the Nationally Certified Teachers through the Music Teachers National Association. While teaching styles and experiences will vary among Nationally Certified teachers, at least this a good starting point. The certification process is quite exhaustive and demanding, requiring renewal every several years. This guarantees the continued professional development of the teacher. If there are no certified teachers in my town I would find the closest city and contact a certified teacher (or several teachers) to see if they know who the better teachers are in or near my town. (Established teachers generally know the better teachers in their state. They regularly judge competitions, attend music teachers conventions and workshops, and have students who participate in statewide recitals and events. The better teachers in Mobile will most likely know the better teachers in Birmingham --- the better teachers in Birmingham will probably know the better teachers in Gadsden or Anniston etc.)
Source #2: Local music teachers groups
I would contact the current contact person (president, vice-president of membership or?) of the local affiliate of MTNA and any other important national music organizations related to the specific instrument or type of instruction I was pursuing, (e.g. Dalcroze, or Taubman, or Suzuki). Often, the local music stores will have this contact information, however you might be able to contact the national headquarters as well. Birmingham, Alabama's local affiliate of the MTNA is the Metro Music Forum. Birmingham, Alabama's local affiliate (for music teachers) of the NFMC is The Birmingham Music Teachers Association. I would obtain a listing of all the members who teach my instrument (e.g. piano) AND ARE ACTIVELY INVOLVED, (or have been actively involved), in the organization. I might even try to get their input on which teachers are considered to be some of the more professional, "serious" teachers (knowing that this may mean something, or nothing. But, if I keep hearing some of the same names over and over from several sources, they’ll probably make my list of teachers to call).
I would also ask them if there are any upcoming music teachers programs – for example, masterclasses or recitals featuring students of local teachers/members. If so, I would MOST definitely plan to attend.
If my child’s teacher is actively involved in the local music teachers groups, the student will be afforded more opportunities. Additionally, a teacher’s membership in a professional organization demonstrates his or her interest in continuing professional development. Teachers who are 'plugged-in' are held accountable and will continue to try to find ways to improve their teaching. Ultimately, I’m looking for a teacher who is a lifetime student himself, no matter what number of degrees already obtained. These will be the best teachers. I also want a teacher who still loves music – who still practices regularly and continues to learn new music, even if they do not publicly perform much any more.
Source #3: Local music stores
I would call (or better yet visit) 1 or more local music stores (for example, in Birmingham, Ellis Piano or Alabama Piano Gallery). I would first choose the establishment that specializes in my instrument and has been in business the longest. (If I am looking for a piano teacher, I would look for a store that sells pianos and sheet music.) Then, I would not necessarily speak with the person who answers the phone, but ask to speak with an employee who has worked at this store for many years, particularly one that has dealt with the teachers on a regular basis – i.e. the head of the sheet music department. (As a music teacher, I know the sheet music department people much better than the actual store owners or the piano salesmen). If there is a person in charge of scheduling/overseeing the teacher/studio recitals, I would definitely ask to speak with them. I WOULD DO THIS IN PERSON so that they might have a chance to be more frank. I would ask him/her the following questions:
Question A: Who are some of the better music teachers in town? However, I would phrase this delicate subject matter carefully. For example, I would specifically address several important aspects of teacher qualifications so that this person doesn’t just ‘mention who last walked in the store’, or ‘who just bought a piano’, but really thinks about specific characteristics of each teacher. If the store simply gives a general ‘listing’ of teachers – e.g. based upon zip code - I would NOT use this as a resource. I would need much more detailed information about each teacher. (A child's well-being or safety with a 'listed' teacher can't just be assumed.)
Question B: If I have not been able to obtain a listing of the local music teachers group(s) members, then I would ask if they have a listing of current officers and/or contact information for the local affiliates of: MTNA (Music Teachers National Association); NFMC (National Federation of Music Clubs), or other important groups for my instrument/area of instruction. (If the music store doesn’t have a listing, perhaps another store will, or one of the area universities/colleges).
Source #4: College/University music departments: I would call the music departments of several of the area colleges and universities, (or Fine Arts Schools like Alabama School of Fine Arts). Depending upon the size of the institution I would ask to speak with the music department chair, or the department chair (or main teacher) of my instrument – e.g. chair of the piano department, or the piano teacher who has taught there the longest. I would ask if they knew the names of the long-established independent (private) teachers in the community. Who are the teachers who regularly have winners in piano competitions, who judge, who present workshops, who have served as officers of music groups, who have had more students go on to major in music, who are good musicians themselves, and who are actively involved in the professional music scene? (again, referring to the "Teacher Qualifications", below). I would also ask if any of their current music majors have their early training with any of the local teachers – get these teacher’s names and contact info. If the university has a “community music program” “prep department” “conservatory” etc. which affords the college music majors opportunities to learn how to teach, I would most likely not consider teachers who do not already have their degrees, who are not actively involved in the professional organizations, and who do not have a considerable amount of teaching experience themselves. (My very first teaching experiences involved teaching through the Prep Music Conservatory at my college in Massachusetts. I was very green then, very distracted with my college studies and have learned quite a bit since those years during and immediately after college. I wish I could go back in time and teach those same students again knowing what I know now .. but we all have to start somewhere). So, in summary, if the college/university only recommends teachers who have attended their school, or teach in their prep/community music program, I would only consider these teachers if the same names appeared from other sources as well.
Source #5: Orchestras, Community Chorus, other Civic Music Ensembles:
If my town had any performing groups such as a symphony orchestra, chamber ensembles, a community chorus etc., I would contact these organizations and ask the same questions I asked the music stores and colleges.
Source #6: Piano/instrumental technicians; Arts Council; Public Radio; Online Listings of Music Teachers
If I were looking for a piano teacher I would contact certified piano technicians (tuners) listed in the phone book, or online. (You want input from all of them – because they will each only know about their own customers). I would ask if they knew of any serious teachers in town? Which teachers have well-equipped studios, with a grand piano, and hopefully a 2nd piano for concerti and piano duos. I would not want my child to study piano with a teacher who ONLY uses an upright or spinet or electric keyboard. There will need to be a grand piano for their regular lessons. Which teachers have a metronome on their piano? Which teachers have a computer lab for additional theory drills? Which teachers have additional pedagogical equipment such as chalkboards or erase boards and other pedagogical equipment?
Often, there are instrument repair shops in music stores -- these are usually pretty level-headed, talented musicians that see a lot of "the biz" (music teaching "biz") -- so, this might be an objective source for info on instrumental teachers like saxophone or trumpet. Worth a visit, at least. Additional possible sources: Arts Council, the music departments of prominent area churches, public radio announcers, possibly online listings of piano teachers, and anyone else who might be involved in the local music scene.
Step 2: Revise the prospective teacher list.
I would then try to narrow the list down to about 3-10 teachers with whom I would schedule:
1) an initial phone interview
2) a personal interview and possibly additionally schedule (after the personal interview):
3) opportunities to observe a lesson being taught
4) observation of students’ or teacher’s performances or workshops
I would narrow the list down based on such things as:
1) Cross referencing -- Teachers who were recommended by all the above sources will most likely remain on the list.
2) Feedback from friends/acquaintances. I will try to pick the brain of anyone who studies/has studied with, or has children who study/have studied with any of the prospective teachers. Realizing that it takes 2 to tango, I’ll try to stay objective regarding any negative comments, particularly from students who no longer study with a given teacher. It’s quite possible that the teacher asked the student to leave --- will my friend really admit this to me? However, if I hear the same negative comments from several people, the teacher is most likely off the list.
3) Articles or reviews of teachers/students in newspaper, periodicals, online etc.
4) Teacher’s resumes and descriptions of programs found online or through their studio brochure, if available. If they are not listed online, that doesn’t rule them out. Again, these online listings would never be a STARTING place – just as I would not compile my initial list based simply upon zip codes.
Step 3: Interview/Observe prospective teachers.
The final interview would need to be a ‘live interview’ and not solely phone or e-mail interview. By the time I actually call a given teacher, I would already know their qualifications; the primary purpose of this interview would be to see if personalities match – does my child and this teacher ‘click’? Will my child be able to respond easily to him or her? If a prospective teacher does not offer personal interviews, (sometimes called ‘consultations’), I would see if they would agree to one ‘sample lesson’, (for which I might have to pay). If the teacher is not willing to do either of these I would not study with them no matter how great their reputation. (I would want to avoid the psychological ramifications of having to switch teachers, not to mention the lost time/money and possible lost motivation from being with "the wrong match"). A successful teacher will know the importance of this initial interview. (It might be helpful to realize that, in the teacher’s mind, the student and parent are being interviewed by the teacher.)
In the interview, I would try to deduct as many things from the “Teacher Qualifications” list (see below) as possible. Additionally, I would scope-out the studio layout, equipment, browse any available brochures/newspaper clippings/past recital programs etc.
I would perhaps ask the teacher many of the questions from the MTNA article, “Choosing a Music Teacher" in addition to those noted above.
Sample questions: (from MTNA website article):
• What is your professional and educational experience in music?
• What is your teaching experience? What age groups do you teach?
• How do you participate in ongoing professional development?
• Are you nationally certified by MTNA?
• Do you have a written studio policy? Will you review it with me?
• Do you regularly evaluate student progress?
• What instructional materials do you use?
• What kinds of music do you teach?
• What other elements are part of your teaching curriculum?
• Do you offer periodic group lessons or theory classes and workshops?
• Do you require students to perform in studio recitals during the year?
• Do you offer other performance opportunities for your students, such as festivals and competitions?
• Do you use technology in your studio, such as computers, music instruction software, digital keyboards?
• How much practice time do you require each day?
• What do you expect of your students? Their parents?
Step 4: Consult with my child. List pros and cons of each. After all this research, go with gut instinct.
Teacher Qualification
•It would be of the utmost importance that my child’s teacher demonstrate the healthiest form and technic possible since I would not want my child to ever suffer from pain, injury, or technical limitations that prevent him from advancing to his maximum potential. (The number of injured musicians is astonishing. When I teach at Princeton University in the summers at the Golandsky International Piano Symposium, I meet musicians from around the world who experience tremendous, and sometimes debilitating pain and injuries. All this is avoidable assuming musicians observe certain principles of coordinate motion. Musicians should be able to play their instrument -- whether piano, flute, guitar -- for as long as they want, without pain or limitation. They shouldn't have to stop every 10 minutes to ice down or stretch. It should be, (and can be), as natural as walking or breathing. With beginning piano students, often the cause of this pain is simply because students have been told to "curl their fingers as if holding a ball". "Curling the fingers" like this, beyond their natural curve activates the long flexors, which causes tension, limitation in motion, and often pain..... all which could have been avoided by simply maintaining the natural hand position where the fingers have a gentle curve but do not curl. I’ve encountered musicians who have suffered from quite serious injuries, like the one concert pianist Leon Fleisher suffers with, where their hands would not open from a fist, or where they lose control of specific fingers when they play their instrument. These poor musicians can no longer use a fork and knife, write, type, dress themselves. Focal dystonia and other debilitating injuries are more common than people realize. Other musicians I encounter on a daily basis suffer from tremendous pain, and many have had to stop playing music altogether. Since all of this is avoidable if the musician uses healthy motions, I would want my child to master healthy motions and be able to play his instrument for life if desired, let alone hold his knife and fork.)
•So, I would ask if the music teacher has had any training in the field of Musician Wellness. I would observe how the teacher plays his instrument. Additionally, I would observe how his students play, but only if they had studied with this teacher for several years. While I wouldn’t ask the teacher to “perform” a piece in the interview, (unless they offered), there might be an opportunity to view their hands as they play their instrument throughout the course of the interview. For example, they might play a teacher/student duet, or demonstrate an ear-training drill etc. If the teacher had a video of himself/herself performing, or was giving an upcoming recital, I would definitely ask to purchase a copy of the video, or attend the recital.
•A healthy hand is a virtuosic hand. A virtuosic technic works best with freedom of motion and lack of tension. Someone might say, “I don’t care if my child ever gets advanced in music”. If this person were paying for golf lessons, you would bet they would choose an instructor who would allow their child to be able to develop a form and technic that would allow them to ‘master their swing’ to the best of their ability. How can you enjoy golf if you can never hit the ball successfully? How can you enjoy anything unless you can achieve some sort of success? The “I just want to have fun” mentality needs to be re-examined.
•What does a “healthy hand” look like? How can you recognize a "healthy piano technic" if you have never had training in the field of music wellness? "Like most things in life, playing the piano well can't be forced. The fingers, hand and arm function together as a unit. On the keyboard they should look approximately as they do when they're hanging by your side. The fingers are not stretching or curling. The hand lines up straight with the arm, neither collapsing at the wrist joint nor twisting off at an extreme angle." (John Bloomfield). If I were choosing a teacher for violin (and I don’t play violin), or any other instrument I was contemplating, I would want the musician’s hands to maintain the basic natural hand position – avoiding curling of the fingers or a “spidery-looking” technic where the fingers isolate from the hand/arm and each other. With a healthy technic, the fingers tend to move together – instead of one finger curling, while others are straightening. "If the technique is healthy, the minimum effort is used for the maximum result. Thus, a technique should look easy and effortless, not exhibiting signs of stress and strain." (John Bloomfield).
(Incidentally, knowing that some studies have found that 86% of symphony players suffer from pain and injury -- and a higher % among pianists -- one of my favorite past-times is to closely observe the string players in the orchestral concerts I attend and try to decide which would be among the fortunate 14% who stay healthy. And though I don't play the violin/cello/viola, these observations are illuminating. I can generally tell which hands/arms are moving in a more coordinate manner, and which hands look more "spidery" with hand and arm out of alignment etc. I try to also listen to the music, but I must confess that at some point I'm analyzing coordinate motion. I do this with the people at cash-registers....people typing at computers....playing nintendo...writing....cooking in restaurants.....doing most anything with their hands. Motion is motion -- it's either healthy, or it's not.)
•My child would need to study with a teacher who offers private instruction which is occasionally supplemented with small group theory or performance classes. (In my experience, the teachers who solely offer group classes are not the more serious teachers. When I say “more serious teachers” I mean ones that actually care that the student will be able to play music one day – to be able to read music, perform the music with integrity, enjoy the music-making process etc. “The more serious teachers”, in my definition, are not simply in it for the money. “The more serious music teachers” actually don’t make money, but they make great music, or provide us with future generations who can make great music!
•My child would need to study with a teacher who has obtained at least a bachelor’s degree in music, in the applied instrument I was pursuing. I would not choose a college student or high school student to teach my child. It would be highly unlikely that I would consider anyone without a degree in music. The only exception might be an older teacher, with an amazing track-record of successful students, who grew up in a generation where degrees were not a professional absolute. OR, I might consider someone who had been highly successful as a performer but was now concentrating on teaching, and had been teaching successfully for quite some time – e.g. if I were solely seeking out a pop music/jazz instructor. Even then, I’d prefer to see a Berklee degree.
•I would prefer a performance degree (BM) but might consider a BA if the teacher had several distinct honors in his/her applied instrument (e.g. winning some major competitions, or having presented some significant recitals, or having had students who presented some amazing recitals), or BMusEd (especially if a brass or woodwind teacher). (I offer no advice about selecting voice teachers. This is not my area of expertise. However, the only voice teachers I’ve ever recommended had BM degrees and were amazing singers.)
•The teacher needs to be able to play. Do they have any recordings of past performances? They need to be advanced because, EVEN AT THE BEGINNING LEVELS, this is important as only an advanced pianist will be able to teach FROM THE BEGINNING the skills needed to be able to play artistically and develop musicianship skills that allow a student to master the instrument -- which is when true enjoyment begins.
•I would not choose any teacher who taught 15-minute lessons. I would prefer teachers who only teach 45-60 minute lessons as I know they are more interested in the student’s advancement over simply making money.
•I would prefer to choose a teacher who had also received National Certification in their field. You can visit MTNA.org to find a listing of nationally certified teachers. If there is not a certified teacher in my town, I would look for the closest city/town in my state and contact them asking if they know of the better teachers in my area.
•I would prefer to choose a teacher who had a handful of years of experience, but if a more experienced, highly qualified teacher strongly recommended a recent grad, I would definitely interview with them.
•If my child is pursuing piano study, I would insist that his teacher have a grand piano in the studio.
•My child would need to study with a teacher who has a well-equipped studio - ideally with a large music library, reference library, metronome, a computer for theory drills, good lighting, air-conditioning, pleasant environment etc. If it was a piano studio, I would expect a decent sounding grand piano as well as a 2nd piano available for performing future piano concertos or piano duos. I would also hope that the teacher had recording equipment (even if just a simple cassette recorder); a t.v. with dvd and vhs library would be a great bonus. I would expect to see numerous professional periodicals around the studio – for example, if it’s a piano teacher, several issues of Clavier or Piano and Keyboard. However, I would forfeit some of these latter things for an amazing teacher with impeccable credentials, numerous references, amazing students, and “the perfect match” of personality.
•My child would need to study with a teacher who runs a professional business – they should appear to be fairly organized. At the initial interview, I should be provided with WRITTEN documentation of studio policies, expectations, tuition rates, payment procedures, studio calendar and so on. I would be very skeptical of a teacher who verbally spells out studio procedures and expectations during the interview and would prefer to see something in writing.
•My child would need a teacher whose students play in rhythm, with correct stylistic interpretations. Are their students well-prepared in recitals? Did they perform from memory, unless playing ensemble or chamber pieces? Did they play rhythmically and ‘keep a steady beat’? Did they listen for balance of melody over accompaniment? (Can you hear the melody clearly? Could you hum the melody back?) Where was the recital held? Did the recital venue have a good grand piano? Did they demonstrate a solid and healthy technic? I would hope that the intermediate and advanced level students demonstrate expressive playing with dynamics, (louds/softs), shaping of phrases, observance of articulation (some brief “silences” within the music with important notes emphasized). I would expect that not all the students sound exactly alike – like robots. If I could not attend one of their student recitals, I would ask if they have a recording of a past recital available, or a past recital program. Then, I would look to see that the repertoire was varied – including pieces from all different style periods … baroque, classical, romantic, contemporary, and perhaps even some jazz and original compositions. For younger beginners, it is more forgivable to have several pieces by “Bastien” or “Clark” or “Gillock”, but if a teacher’s repertoire is limited to only one composer (e.g. only pieces from the “Faber method book” or the “Alfred method book”), I would look elsewhere for a teacher. A good teacher will know that not “one method book” will work with all students. A good teacher will know that not one method book will work with ANY student – from the 1st lesson on, students need input from several perspectives. For example, in piano methods, many series will move the pianist into several different modes and ‘hand positions’, whereas many other popular methods will stick to C major ….. forever – and ever – and ever. Most every composer’s series has something good to offer, but no series is sufficient in it of itself. So, if the recital program ONLY has pieces by “Faber and Faber” etc. or “Bastien”, I’m skeptical before even hearing any of the students. If the entire recital program was only different arrangements of “Theme from Titanic”, I’d quickly rule out that teacher. Perhaps 1 arrangement could be o.k., or even 2, (this may be the ONLY piece of music a given child has EVER wanted to play etc.), but I want to see first and foremost, variety. You have to meet each child where they are – and not one piece, style, or composer fits all.
•I would want my child to study with a teacher who has an agreeable personality. This is subjective and specific to each student/parent/teacher relationship. This is why interviews are so important. Personalities must agree.
•I would want my child to study with a teacher who has a good reputation. It would be wonderful to hear input from other parents/students of their studio, in addition to the “sources” mentioned earlier.
•My child’s teacher should be plugged-in to the local music scene, be well regarded by her other peers, and be a member of local music teachers group(s) which will afford my child opportunities to participate in various festivals and special events should he choose to participate.
•My child’s teacher should also offer several studio special events, recitals, and other casual performance opportunities throughout the year.
•If the teacher has presented workshops for other teachers, this would be a definite plus. What was the topic? For whom was it presented? How was it received?
•If the teacher has continued to perform, this would be a plus – but only if it appears that the performance schedule doesn't demand cancellation of lessons and change of schedule. I would definitely expect the teacher personally to continue to practice, learn new music, perform concerti parts and duets with students, and other things that indicate an ongoing love of music, and the making of music. Honest truth? A great teacher NEVER stops taking lessons himself/herself. Again, the best teachers are "students for life"!
Several years ago, I was on a plane to NYC. My "seat-neighbor" asked me if my trip was 'business or pleasure'. I responded, "I'm going to my piano lesson". Needless to say, I got a strange look, and have since learned to respond "business". However, this is actually the heart of the matter. Once anyone accepts that "they know it all" -- they know nothing. To create artists, one needs to be an artist. And a true artist is never satisfied ... never finished. A good teacher would demand the same of his/her students. Truthfully? This is where the FUN of any art form occurs -- the boundlessness of expression and growth. The infinitude of it all.
Good luck with your search! With perseverance and determination, I know you'll find the perfect match.....
Sincerely,
Amy McLelland, NCTM
|
|
|
HoursM-TR: 1-8 PM
|
Telephone205-908-5830
|
Location: 3100 Highland avenue, birmingham, alabama 35205
|