Lessons - Cedar Rapids Photograpy Reid Turner RT Creative

Teaching Philosophy

The philosophy of Music4Life is to foster the joy of learning, playing, and performing music. How that happens is different for every student, so no one approach always work. With that said, here are general principles I abide by:

Practice:

Students who practices outside of lessons will progress faster than ones who don’t. Good, focused practice requires complete engagement from the student, concentrating on specific aspects of the music such as playing through a song or section, identifying notes, or studying rhythms. The duration of this practice can range from a few minutes for beginners to an hour or more for advanced learners. For most students who have been playing for a few years, 10-15 minutes a day is plenty. Consistency is the key here; even 3-5 minutes a day of focused practice is beneficial if it's routine. As students mature, they should increasingly focus on specifics within the music, rather than just playing through a song a couple of times. (For example, focusing on measures 5-8 with right hand only until the student has adequate muscle memory to play it).

Focused practice can have downsides. When I was in early high school, I quit taking piano lessons because I was exhausted from overpracticing (I was playing competitions and learning the same song for 6–12 months at a time, which I didn’t enjoy). As such, pushing too much focused practicing can backfire. Thus, the goal is to find a level of work that is challenging for a student, but not exhausting. That can be a tough balance to find and changes from student to student.

Even after quitting formal lessons, I continued composing, learning chords, and exploring solo improvisation. Open play allows students the freedom to play according to their feelings in the moment. This is especially crucial for younger students, but older ones can also benefit from sitting at their instrument without a particular goal in mind. Over time, they will naturally discover aspects that intrigue them, which should be encouraged. This freedom can unlock avenues to explore their creativity as well as motivate them to play and learn music. In some cases it might completely alter the direction they head with their lessons, and that’s ok. Keep in mind that students who are early on in their music education will need more guidance and direction in order to learn the basics of their instrument and how music works. As they get older, students can and should branch out into areas of music they find most exciting.

Students who aren’t enjoying playing their instruments:

Learning an instrument is challenging, and sometimes students lose interest in playing their instruments. This is both normal and ok.

Sometimes a student is just really busy with other extracurriculars or activities. If this is the case, sometimes an activity needs to be cut. Talk with the student about what they like and don’t like. It's important to remember that they can always return to an activity they miss in the future, and this includes music lessons. I won’t take it personally.

I've had piano students who have difficulty reading notes, which, in some instances, might be attributed to dyslexia or ADHD. For these students, doing note recognition on musictheory.net can be really helpful - just make sure to limit the clefs and note options. Additionally, some students use the finger numbers to help them determine the note names, which is backwards - the notes should be determined first, because there are 88 options for which note a finger can go on.

Some of these students have found success switching from piano to drum set - they are able to learn it more quickly are more passionate about it. We still practice reading written notes, but the focus changes much more to the hand/feet coordination and repetition, which benefits certain students.

When I quit piano, I felt like playing my instrument was a chore. My goal is to always be introducing new and fresh ideas to students and to help them create their own goals that I can help them achieve.

Not practicing:

Some students don’t practice. There are teachers who think those students are wasting their time, but I don’t like that mentality. Yes, practicing makes a different in the quality of play. But my goal as an instructor extends beyond merely producing skilled musicians. Every time a student shows up, I can act as a role model. I teach concepts that reinforce mathematics, creativity, coordination, and responsibility. I will push students to practice, but my commitment to teaching them is never conditional on them practicing.

My aim is to meet each student exactly where they are during every single lesson. I strive to challenge them consistently without making them feel inadequate for making mistakes. I expect them to make lots and lots and lots of mistakes, and I’m all for it. As long as a student is giving a sincere effort, they will never be wasting my time. Sometimes students aren’t engaged with an instrument when they are young but stick with it, and as they get older they realize they really enjoy it.

How to purchase an instrument:

Google it. Instrument models are constantly changing, and there are websites that are dedicated to comparing the best deals on instruments. The best thing to do is to make sure it’s the full instrument and not a toy instrument. Keyboards, for example, should ideally have 88 semi-weighted keys. If you’re buying used, make sure to research and try out the instrument you’re considering buying. Also ensure it’s in good working order before buying. Some teachers might have strong preferences on instruments, but there are lots of good options out there.

Knowledge versus muscle memory:

Muscle memory occurs when the fingers learn to play automatically, without conscious thought. For instance, I can play a piece by Chopin without actively thinking about it - it happens instinctively. Even improvisation draws upon muscle memory, as I can visualize what I want to play, and my fingers will automatically follow suit. My teaching methodology includes practicing to develop muscle memory while also ensuring my students comprehend the piece they are playing.

Beginning adult students are much different than young beginners in this regard. They are more capable of understanding music theory. As such, there is a gap between their knowledge and their ability to apply it. This can be frustrating, so one approach is to treat your hands like children - they will eventually improve with consistent effort, but it may take some time. On the flip side, very young students who excel might have exceptional muscle memory but no clue what they’re playing - they’re just following what the music tells them. Everyone has a gap between their musical knowledge and their ability to play the technical aspects of their instrument, so understanding that gap can help manage expectations (particularly for those with a stronger theory understanding).

Rethinking Piano Education

Imagine sitting at a piano and listening to a song and being able to replicate both the melody and the chords on the spot. Or perhaps imagine just playing a song that matches the emotions you feel in that moment.

Historically, piano education has been geared toward reading notes and rhythms on the page. While important, this approach only captures one aspect of the piano. Just as important is the ability to listen, play by ear, and improvise. Adding these skills makes students more rounded musicians. More importantly, these skills help students stay engaged that might have otherwise quit.

Enter Project Grubble. I am designing a program that makes listening and improvisation accessible and fun for young beginning students. Importantly, the method is designed to make it easy for teachers to teach improvisation, even if those teachers don’t improvise themselves. Let’s keep kids engaged and give them the tools to really shine and be creative with their music. (Content to come).