Autumn
2003, Vol. 14 #3
Fall - "a new beginning"
In this issue's REPERTOIRE column (see pp. 44-47), Marvin Blickenstaff describes the Fall opening of a new teaching season as "a new beginning, a second chance, a fresh start." I know that I certainly view this time of year in these terms, and I'm sure that many of you do as well. Fall teaching usually means new repertoire which hopefully produces renewed motivation! For many of us, it often means starting a new beginner -- thus, another chance to "get it right this time!" And of course, a new teaching season also provides another opportunity to review our philosophy and policies about practice with both our students and their parents. In this issue's HOME PRACTICE column (see pp. 14-21), writers Lisa Caramia, Beth Jones, and Sue Steck-Turner share some of their excellent views about practice, and my remarks below also focus on this issue. They represent some of the points I always reiterate with parents and students at the start of a new teaching year.
The need for students to establish a regular time for daily practice
My experience continues to confirm that students who practice at the same time every day tend to make more consistent progress than do those who use the "catch-as-catch-can" method. I
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remind parents that it is perfectly
normal for almost all students to be less than enthusiastic about
practice at least some of the time, and therefore, they will
need to assume the responsibility of seeing to it that their
child does indeed get to the piano daily. I urge them to assist
the child with selecting an every-day practice time (the same
time each day) that will, for the most part, be 
compatible
with both the student's and the family's schedule, and I assure
them that there will be far less friction over the matter of
practicing if a regular time is programmed into the student's
daily schedule. Finally, I suggest that once a specific time
has been selected, the parent needs to help the student stick
to it!
The importance of the environment in which practicing takes place
When the student is practicing, he/she should be allowed access to the piano without undue distractions (sounds from the TV, radio, CD player, etc.). Nor should practicing be interrupted by telephone calls, visits from friends, or from intrusions by other family members. The point is that if practice is to become important to the student and a regular part of his/her daily routine, then a suitable environment for it must be created and maintained by the entire family to show that it respectfully supports its importance.
How long should the student practice?
This is a question that all parents and students ask, and one which I think we should answer with specifics. If we think that 30, 45, 60 (or more) minutes of practice a day is necessary in order for the student to accomplish the goals that we have established for his/her musical education, then I think that this is exactly what we should say. We need to impress upon both the parent and the student that regardless of ability, or even the quality of practice, progress and achievement are also greatly influenced simply by the amount of time one actually spends at the instrument. I also underline that I think it is far better to practice a shorter amount of time every day than to skip several days and then try to make up for it by cramming a week's worth of practice into 2-3 days. In addition, for students of all ages and levels, I strongly recommend dividing up the day's total practice time into 2-3 shorter segments rather than trying to do it all in one sitting.
Last, but by no means least
I stress the point that although consistent progress does depend on regular daily time spent at the piano, it also depends on mind spent, and therefore, this is always one of the main emphases of every lesson. Actually, most of each week's lesson time is spent preparing the student for six days of productive practice in between lessons. In order to reinforce what is done at the lesson, the assignment is structured in considerable detail which suggests that practice is not just "doing time" at the piano -- not just sitting there playing through pieces for a given length of time. Rather, it entails proceeding in a logical, step-by-step sequence, and applying whatever practice steps have been assigned to ensure maximum accuracy and success in a minimum amount of time. I make it clear that it is my job to program the student for successful practice. It is the student's job to utilize at home in everyday practice whatever suggestions are made at the lesson. In summary, every student's success probably depends more upon practice than on any other single factor, and certainly how the student practices will define the quality of both the student's accomplishments and his or her attitude about music, and continuing study.
About Our Cover Picture
The photograph of
Fernando Laires on this issue's cover was taken by
Kurt Brownell, staff photographer at the Eastman School of Music.
To see a larger image of our cover art, please visit our Art Gallery.
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A FEATURE FOR NON-SUBSCRIBERS:
Click on any of the questions below to read highlights from the articles in the print magazine
These are the other articles that were in the Autumn 2003 issue
Information on obtaining back issues
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The Magic Triangle: |
What do you say to a student who wants to quit piano lessons? |
Karen Harrington |
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The Other Teacher: |
What do you tell parents/students in the pre-enrollment interview? |
Lisa Caramia |
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Independence Day: |
Rebecca Lewis |
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Let's Get Physical: |
Lois Finlay |
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The Heart of the Matter: |
Audrey F. Evans |
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Issues and Ideas: |
How do you deal with the sometimes marvelous, sometimes maddening teenage years? |
Yu-Jane Yang |
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It's Never Too Late: |
Cheryl Everett |
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Putting It All Together: |
Are there special pieces that help you start a new teaching year on a positive and successful note? |
Vivian Dula |
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Tomorrow Today: |
Michelle Gordon |
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The World Around
Us: |
Fernando Laires discusses the state of piano teaching - past, present, and future |
Fernando Laires |
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