Starting Music Study

Selecting a Musical Instrument

Selecting a Music Teacher

Positive Approach to Practicing

Which Instrument?

Band/Orchestra Instruments or Pianos?

Band/Orchestra Instruments
Children are often enamored with the guitar (perhaps reinforced by exposure to television) or with Daddy’s old trumpet in the closet. Very young children normally lack the physical resources to begin on these instruments. Optimally, however, it would be best to begin music study on a band or orchestra instrument AFTER engaging in piano lessons (Starting Music Study). Any instrumental teacher would enthusiastically welcome a new clarinet, trombone, or violin student who had completed two years of piano study!

A string instrument, such as violin, can be started at a very young age, since this instrument is available in gradations of size to “fit” the size of the player. Wind Instruments can be comfortably started in the 5th or 6th grade. Beginning earlier could confront the player with physical difficulties that limit the ability to progress.

Deciding on a particular wind, percussion or string instrument requires consideration of physical sizes and characteristics. For instance, some students who would have difficulty playing trumpet or French horn because of the small mouthpiece, and the formation of their teeth (e.g., malocclusion), might achieve greater success on trombone or euphonium with a larger mouthpiece. An experienced teacher in these areas can advise a parent after interviewing the student.

As witnessed in America’s middle schools and junior highs, a vast number of girls are attracted to the flute as their woodwind instrument of choice. It is not uncommon for one-third of the school band to be comprised of flute players! This phenomenon suggests that there are other instruments that might be considered if the student wants to excel and not be “just another number.” It should be noted that most band programs are always interested in good clarinet players, because there is a need not only for very capable clarinetists on the standard soprano clarinet, but also those players who can eventually transition to alto clarinet, bass clarinet, or even contrabass clarinet. Students interested in saxophone would be well-advised to initially study clarinet, and then make the transition to sax. This sequence also increases their versatility, and allows for “doubling” on these instruments later in the school’s jazz ensembles. Those considering a double reed instrument (oboe or bassoon) are usually advised to begin with a single reed instrument (clarinet), and make a transfer to the double reed later.

In the area of percussion, all band and orchestra directors are vitally interested in well-rounded percussionists, that is those students who can play all percussion instruments, to include mallet instruments (xylophone, marimba, vibraphone, orchestra bells). Those students with a piano background are highly valued, as their keyboard skills are directly transferable to mallet instruments. There is an abundance of “drummers” in the world, but well-rounded percussionists who do it all are in greater demand.

The family heirloom trumpet or clarinet may not be suitable for the beginner. Families should locate a reputable local music instrument dealer, and seek a good “student model” instrument for the initial study on that instrument. A good local dealer also has the advantage of being the source for follow-on service and repairs on the instrument.

Looking for a “deal” on the internet is not recommended, unless the bargain-hunter is intimately familiar with brand names and model numbers. A sight-unseen purchase through a purchase or auction on the internet can result in buying a very inferior instrument. For example, there are trumpets available on the internet that don’t have nickel-plated valves; thus, the valves quickly rust, and no longer operate. The valves can’t be plated subsequently by a repairman because of inadequate tolerances in the valve casings. Such instruments are good candidates for conversion into table lamps! When buying musical instruments, you generally get what you pay for.

Digital Piano vs. Acoustic Piano
In the piano teacher world there are many opinions on the value of acoustic versus digital pianos. A quality acoustic piano in superb condition would certainly be the choice for most students who are serious about their piano study. However, many beginning students don’t always have access to such an instrument. Too often they start out on a less than adequate acoustic piano. Whatever is already available, or inexpensive, often becomes the instrument of choice, rather than a satisfactory instrument. A fine digital piano might be a more suitable vehicle for the beginning student because of the interesting options such instruments provide. This may be especially true when those inevitable “valleys” appear in music study, and experimentation with internal sounds, rhythms, and other features may help to stimulate the learning process.

Maintenance of an acoustic piano is critical, as they need tuning every six months to a year at a minimum. A qualified piano technician can assist with maintaining a particular piano. Also, consult with the technician on the need for a damp chaser or humidifier, depending on the climate in your area. Contact the Piano Technicians Guild for a qualified technician in your area. See www.ptg.org/ptsearch/usmap.html.

Placement of an upright acoustic piano in the home is also important, as it shouldn’t be placed against an outside wall in cold climates.

Digital pianos require neither consideration for there is little, if any, maintenance, and no spruce sound board is affected.

Do your research before shopping for a piano. When considering a particular piano, bargaining the price may be an option. Some dealers offer the alternative of renting the instrument for a specified period, with option to buy. However, make certain you get the quality instrument that you want.

When buying an acoustic, investing in a spinet piano is not advised. The buyer is spending a lot of money for an attractive piece of furniture that will be difficult to maintain, and the touch and sound may be less than adequate. When buying a piano, give priority consideration to pianos whose string length meets or exceeds 41”. A piano bench should be included with the purchase.

For more information about digital pianos go to Keyboard Companion Magazine, Winter issue, 2003, www.keyboardcompanion.com for a discussion by Virginia Campbell.

To maintain the enthusiasm and excitement for music study, students should have an instrument better than they are. A bad instrument will tend to mask things a child is doing wrong, as well as what he is doing right.

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Selecting a Music Teacher
We want to assist you in the consideration and search for a music teacher, and equip you with some critical questions to ask when interviewing a potential teacher. We’ll share feedback we've received, personally, from our former students who studied with other teachers after studying with us. We’ll also give you more information on gauging what your children may have attained and the exposure they have had in the course of their study.

First, the initial consideration is: What program of study does the teacher offer? Is it a group class, private instruction, or a combination of group and private? Does the teacher incorporate theory in the lessons? Better yet, does the teacher offer Computer-Assisted Instruction in Music (CAIM) (music theory study and reinforcement with the use of computer programs) as an adjunct to the music lesson?

Many factors come into play in creating a situation in which students will succeed in music, and peer involvement is certainly a very important element, keeping students involved by playing together in a Group setting. This is an absolutely essential element for most students during the teenage years. Instrumental students experience this in school or community Bands and Orchestras, so a group situation might not be as critical for them as it is for pianists. You need to consider that although the instrumentalist does get a Group experience, that same student doesn’t always get a solo opportunity in that setting, whereas in a studio Group situation he most likely would be featured frequently, as would each of his peers. Such students might also benefit from early experiences in playing in small ensembles.

Second, the next question might focus on the teacher's qualifications. What is the teacher's educational background? Academic degrees are important, but may not be the most significant factor. A critical question might be: What is the teacher's most recent professional development experience (such as a conference, convention, seminar, or workshop...)? How recent was that? If the response is: "I went to a workshop put on by a major publisher at a music store last Summer," you must understand that this is a two-hour experience in selling the books of that publisher, and doesn't have too much to do with updating teaching skills. Attending the national or state/regional convention of organizations like the Music Teachers National Association, National Association for Music Education, National Conference on Keyboard Pedagogy, or World Piano Pedagogy Conference is a significant indicator that teachers are updating themselves and seeking self-improvement.

The Music Teachers National Association confers a designation of “Nationally Certified Teacher of Music,” for those teachers that meet its prescribed qualifications. This is not an absolute guarantee of quality teaching, but it is the best indicator our profession has to date.

To put experience in another context, you need to assess a teacher's background from a particular vantage point, other than the number of years he or she has been teaching. When a teacher tells you that he or she has been teaching 30 years, you need to consider if this is 30 years of progressive enrichment and refinement of skills and approaches, or is this one (1) year of teaching experience repeated 29 more times...?

Third, the following question might be: Do you follow a standard method or series, and augment this with supplemental materials, or is your approach more eclectic (which might be interpreted by some as "shooting from the hip"...)? Following a method provides a pedagogical outline or framework with which the teacher can work. The parent might want to supplement what the student is getting in his lessons through Recommended Computer Software for use at home.

Fourth, if you’re dealing with a piano student, you need to find out if the prospective teacher is using digital pianos, electronic keyboards, sequencers, and other elements of high technology. There are still many teachers who will not teach a child if he or she owns only a digital piano. These teachers are convinced the only way to learn to play the piano is to play the acoustic piano! So, if you own a digital piano, this might be your first question.

Once students have been exposed to high technology, they invariably love the options of using the sequencer and sound module. In discussing high technology teaching tools with a potential teacher, you may find that it's not just a matter of whether or not they own the equipment; it may be a matter of mind-set. Is the teacher open to change? As society and teaching techniques change, is the teacher interested in changing, as well?

Fifth, it may be helpful to ask: "How many students do you presently teach?" Though there is a valid concern about music becoming an option for only the elite in our society (i.e., only for those with enough discretionary income to pay for it), take caution before signing on with what is referred to as a "teaching mill," a place that “churns” as many students through in a day as possible.

Sixth point: Beware of cheap lessons. You will get what you pay for, or even less! And that brings us to the question that many parents ask first: "How much do you charge?" Don't approach your search in that way. What the potential teacher offers is your primary concern. Granted, money is a major consideration, but it should not be at the top of the list. If you are committed to the value of music lessons, you will find the money---if you feel the teacher is qualified. It doesn't help to comment on what other teachers charge, because most teachers charge what they feel they are worth.

Beware also of teachers who “Only teach beginners...” You must determine if that is truly their preference, or if they are teaching because they studied the instrument at some point in their lives, and, because of many inadequacies, are fearful of teaching over their heads. The beginning stages of music study, almost invariably, will be crucial in the continuation of music study.

The next area of information is very important. Each year, many music teacher associations have an annual festival, or competition. Students may play prepared pieces from a recommended list, or selections determined by their teachers, and are given ratings by a judge. Typical ratings are Superior, Excellent, Good, and so on. The reason for including this subject in this content is that far too often the teaching of these pieces to satisfy competition requirements becomes the goal for teaching music, rather than learning music that enhances the student’s abilities. If you have reservations about the value of putting your student in competitive events, and the comments and ratings which judges render, then you need to ask if the teacher is involved in the festival and/or competitive events, and if there is an option to not compete if the student so desires. One last note---be cautious of events billed as "non-competitive." They, in fact, may disillusion the student and cause a "turn-off" to music as fast as the competitive events, particularly if the student is very sensitive to negative comments.

When inquiring about what the teacher offers, ask how music theory is incorporated into the lessons. Many piano teachers use method-related theory books (theory assignments tend to parallel the technique and repertoire being studied in method books), which are generally quite acceptable, although some are better than others. However, truly knowing music theory is being able to really use it! A pencil written solution may be just a one-time answer to a question, but most music theory software programs available for Computer Assisted Instruction in Music have proven to be effective ways to use and reinforce a particular point of theory, as the student is asked questions from several approaches to reinforce the actual learning and application of the information. If the teacher is not offering CAIM, refer to the Recommended Computer Software list and invest in several programs on your own. The investment will be invaluable in increasing your child’s understanding and will assist greatly in the motivation to keep on “going on.”

It is quite unfortunate, but many instrumental teachers have not jumped onto the Theory bandwagon. Too often they are only teaching technique and repertoire. This is a great disservice to the student, and if that student should want to continue in music, at any level, he may not have the necessary comprehension of music theory to keep pace with his peers.

Today’s computer program offerings also ensure that students will be stronger rhythmically than most of their contemporaries, or at least know when they are incorrect, as a result of the computer drills and training.

The following is some feedback from our former students, who studied with other teachers after we or they moved to a new location, which may be helpful for you in the coming months.

1. Students tell of their encounters with teachers who make corrections constantly (a syndrome often referred to as the "stop and fix it" mode of teaching). Students lament about never being able to play THROUGH anything! These students felt they lost touch with the excitement of making music---they were engaged in trying to play each and every note correctly--the music died (and their enthusiasm died with it)...
2. Students, as any other human beings, have a need to either show what they can do, or get help on something which is frustrating them. Years ago, after feedback that a student was very upset that the lesson was over before she had a chance to play a particular piece she wanted to share with me, I changed my approach by allowing the lesson agenda to be flexible enough to accommodate this need. Consequently, I start each lesson by asking the student what he or she would like to play first for me. You may want to see if there is this kind of flexibility in the teacher's agenda.
3. Students often arrive at a new teacher, particularly transfer students, attempting to play music which is much too difficult for them. What a disappointment if remedial efforts are viewed as "going backward." You should be cautioned about seeing a student being pushed too fast, and perhaps exceeding his or her ability to cope with the repertoire.
4. Former students share that the lack of an ensemble experience made piano study a dull, lonesome business, and they lost interest. Working with other students can be a stimulus, and the teachers who offer this type of experience should be considered.
5. Former students tell of being saddled with boring repertoire, and, even more disturbing, of being limited to working on only 2 or 3 pieces at a time. No new pieces were assigned until every note in every piece was absolutely perfect. This is almost like telling you that you are not allowed to read today's newspaper until you have fully absorbed everything in yesterday's newspaper. You'd probably cancel your subscription!!

Positive Approach to Practicing
Coming soon!

Good luck and we hope this is helpful!

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