Introduction by Joyce Cameron,
Editor
ften, as I read the responses I receive
to questions I have posed, I am struck by the different perspectives
offered. However, in this issue two teachers who teach
in very different situations and who have very different backgrounds
and experiences write in a way that may make you wonder, "do
these two people know one another?" I assure you, they don't.
So this time, instead of commenting on the diversity of ideas offered by our contributors, I would like to focus attention on several common threads that seem to run through their contributions:
1. The idea that they approach each transfer student as a unique individual.
2. The fact that they strive to ensure good teacher/student communication from the very beginning of the relationship.
3. The notion that one of their goals as piano teachers is to cultivate each student's ability to become an independent learner.
All three of these factors seem relevant to all students, not only to transfer students. Perhaps both of the contributors to this issue are, in their own way, telling us that they teach people first-not pieces or concepts or skills. Given a firm foundation of mutual trust and respect, they can then proceed to address problems that they may have uncovered in learning to know this new piano student and his or her unique combination of interests, needs, abilities, difficulties, and ...
As you read what these contributors have to offer, consider your own approach to students-whether they are new transfer students or continuing participants in your studio. Do you conceive of yourself as "teaching" Johnnie? or Mary? Or, do you conceive of yourself as "teaching" a Bach Minuet? a Beethoven Sonatina? a quarter note? a jazz rhythm? a two-octave scale?
fter spending much thought an this
question-What do you do to assure success with transfer
students?-I realized that my entire attitude toward transfer
students has changed from the early years of my teaching to the
present time. Dealing with a transfer student used to
be an exercise in frustration for me and probably for the student
as well. In fact, over the years I had grown to dislike the very
thought of accepting someone other than a brand new beginner.
In the old days, I used to feel that the early months with a new
transfer student were like groping around in the dark, always
bumping into walls that might bring us to a screeching halt. Another
hole to fill in. Another missing link. A weakness or an unknown
would show up, and we would have to stop, regroup, and start again!
I'm sure we've all experienced the realization that this new transfer student who has studied for two, three, or more years can't really read a note of music," or "is stuck in a'dot-to-dot' method of sightplaying." Another student can't keep a steady beat, but is playing repertoire at the intermediate level or beyond. Still others did all their required theory assignments, but can't harmonize a simple melody with I, IV, and V chords, and are unable to tell you the key in which their Minuet is written. I was constantly asking myself, "Where do I go from here?"
I believe that some of the following ideas have helped me develop the ability to look at the acceptance of a transfer student into my studio as a welcome challenge rather than a dreaded undertaking. After years of teaching, I find myself more able to assess where a student "is," what "holes" seem to be present, and how I can make this transition a smooth and enjoyable period for both the student and myself.
I have established a written studio policy that includes my philosophy of teaching, and I require an interview with both the student and his or her parents before acceptance into my studio. This process can reduce the problems that we may have with personality conflicts and/or with the fact that my teaching philosophy and/or ability do not match the needs or desires of the student and his or her parents. I have learned to listen to and observe, not only the student's attitude toward piano study, the previous instructor, and the possibility of a change in teacher, but also the parent/child relationship. Is the student self-motivated? or parent-driven? or a positive combination of both?
Before I interview a transfer student, I give the student a questionnaire to fill out that gives me valuable information about likes and dislikes in school subjects, involvement in extra curricular activities, etc. Then, during the interview, I test reading, rhythm, and listening skills, and theoretical knowledge. I ask a student if he or she would like to perform a favorite piece of repertoire. If the student is willing to play, I observe hand position, technical ability, musical interpretation, ability to keep a steady beat, etc.
I always ask students to tell me about their long- and short-term goals for piano study, about what they liked or disliked during any previous piano study, and about the areas of musicianship or music that they might like to explore. I also try to find out the areas in which they have a strong background. My main focus at the interview is to help the student feel at ease with me, to listen to their comments and concerns, and to offer suggestions as to how we might develop an individualized program to help them meet their goals.
After I accept a student into my studio, I spend much thought on what material to use to meet the student's needs. I am able to tell much of what I can expect the student to know from the previous method books and materials used. It is important for teachers to be familiar with as much of the available pedagogical material as possible, even if we don't regularly use some of it. This knowledge can help us accurately assess student strengths and weaknesses, and it can help us know what we can expect a student to know and not know. Since no single method series is complete, we must always be able to supplement the student's music education by filling in the holes with other materials. Weekly lesson plans, along with short- and long-term goal assessments, help me to stay on track as I work with any type of student.
Since transfer students often need a boost to be motivated anew, I search for a big sounding, easy to learn piece to help get off to a successful start. I always offer a choice of two or three pieces of varying styles so that I can begin to discover the student's likes and dislikes. Initially, I never force a piece of literature on a student if he or she reacts negatively. Later on, I can work to stretch their interests when motivation is not such a big issue. I often receive comments from students that they were never given the opportunity to choose their own supplementary pieces, and they react quite positively to this opportunity. From this experience, students begin to learn that they can express their opinions and thoughts in other areas as well. A recent transfer student came to her lesson clutching a supplementary book in her arms and said, " I love this book so much I am going to save it for my children and grandchildren." To me, this comment indicates the importance of choosing material to meet the needs of a particular student.
Flexibility is very important in the early months of transition, and forcing only my own agenda on a student may cause resentment or rebellion. Just as I have found in parenting my two daughters, if they are free to make their own choice from a given list, they will react much more favorably. I see this process of providing choices as a way of fostering student independence from the very start, rather than encouraging their dependence on me, the teacher, to think and do everything for them.
Transfer students often show a lack of practice skills other than mindless repetition. Much of our lesson time during the early weeks and months is spent modeling the "how to" of practice, rather than just talking about the "what to" of practice. Weekly assignment sheets include much detail on "how" to approach potential problem spots, what to listen for, etc. Sometimes I may ask a student to keep a record of daily practice, writing down any details that he or she thinks are appropriate. I can usually expect to see only the "what" of practice with little in the way of practice procedures other than repetition, hands-separate, or hands-together. After I have read a student's written practice record, we begin to work on the "how to" of practice in order to help develop more skills and independence.
I encourage all my transfer students to become involved in monthly studio repertoire classes, even if only as a listener, so that they can identify socially with other students close to their age, and so that they can become challenged to share their musical abilities. I encourage them to perform only when they are ready. I never push them until they are ready, but I find that 99% of my students will perform on their own and in their own time-not mine!
During these early months, I continue to communicate regularly with the parents to help assess both the transfer student's progress and the ease of the transition. I am pleased to say that, for the most part, I receive many positive comments. Some of these are, "We are very pleased with the positive change in our child's attitude toward piano study and practice." "You are teaching skills we never learned when we studied piano." "We appreciate your individual attention to our child." "They have made more progress in these few short months than in a year or more of previous study." Just the other day I received a written note from a recent 9-year-old transfer student. "I just love my piano time with you, Mrs. Reed!" These are comments that encourage me and help me to know I must be on the right track in dealing with transfer students. At least I know I no longer dread this task!
JONI REED, independent teacher of children and teens in the Dayton, Ohio, area, is current President Of the Beavercreek Piano Teachers' Association, active as a church musician, and becoming interested in the technology of electronic music making,
ransfer students present special challenges
to piano teachers, but they also offer opportunities for us to
learn about other teachers' approaches and to sharpen our diagnostic
and motivational skills. Meeting those challenges, and
making the most of these opportunities to learn, can make the
difference between a frustrating experience and a rewarding, stimulating
one.
Although the term transfer student may suggest a student with years of poor instruction and a long list of bad habits to be corrected, it also includes those with excellent backgrounds who have recently moved to town, whose teachers have moved away, or who are simply ready for a more advanced level of instruction. Between these extremes are a wide variety of average students-those who are generally well prepared, but deficient in certain areas. Each one of them comes to us with knowledge, skills, habits, and attitudes acquired in previous instruction, all of which influence their approach to music study and their ability to benefit from our instruction. The more we find out about what they have learned, and about how they learn, the more effectively we can guide their future development. Here are some general guidelines that I find helpful in working with transfer students:
1. Be sure you understand why the student is transferring. There may be hidden agendas or unrealistic expectations on the part of the student or the parent. Find out what they expect from you, and let them know what you expect from them, and what you can offer them.
2. Use the initial interview1 to learn as much as you can about the student's background-length of study, materials used, repertoire studied, performing experience, ensemble experience, proficiency on another instrument, and experience in such areas as accompanying, jazz, and composition. Ask students about how they practice and about what things they find most difficult or enjoyable about piano study. Find out if they go to concerts, and if they listen to classical music on the radio; discover what kinds of music they like, as well as any special concerns they may have, like sightplaying, memorizing, or technique. Try to get a sense of what motivates them, the degree of parental support, their ability to adapt to new situations, and how well you think you can work with them.
3. Try to diagnose the student's strengths and weaknesses in the initial interview. Begin with what is comfortable or familiar for him or her-a prepared piece, some sightplaying, and perhaps some scales or technical exercises. Try to find out if the student plays by ear, improvises, or can do simple harmonization and/or transposition. If the student's background seems lacking in a certain area, theory, for example, give the student an introductory experience, and see how comfortable he or she is when working with a new concept or skill.
4. As lessons begin, check communication frequently to insure that the student understands your assignments and how to practice them. Be alert for potential misunderstandings or for unconscious habits that may hinder progress. Provide feedback to help and sounds like when they are playing and practicing correctly Ask lots of questions. Experiment with different strategies in order to find out what works and encourage them to do the same in their practice. For older students, written practice guidelines or outside reading may be useful for reinforcing new ways of learning.
5. Help transfer students apply what they've already learned in new ways, building where possible, on their strengths as you work on their deficiencies. These kinds of activities can provide a positive starting point and can help to counteract any feelings they have that they must forget everything they've ever learned and start over. For example, the pianist who plays by ear and reads chord charts, but wants to study classical repertoire, may find the reading process painfully slow and frustrating. If he or she is struggling to read the notes, try different approaches, such as blocking and naming chord outlines or familiar hand positions, before playing. Such tactics can help students use their knowledge of harmony as a tool to improve reading.
6. Try to balance the need for remedial work with the student's need for a sense of progress. Transfer students may need to work on several different levels at once, studying repertoire that is easier than what they have been playing, or doing remedial work in sightplaying or keyboard skills Give them lots of support and encouragement, as they develop the tools for independent learning. Find things to praise, and let them know that you appreciate what they've invested in their study and their willingness to explore new approaches with you.
7. Provide nonthreatening opportunities for transfer students to meet, hear, and play for your other students, such as informal performance classes or group lessons. They will not only enjoy sharing what they know with others, but will gain a broader perspective on your approach to music teaching and a sense of where they are headed.
1 For some excellent ideas on the interview process, see The Transfer Student (pp. 127-141) by Marienne Uszler in The Well-Tempered Keyboard Teacher, 2nd edition (Schirmer Books).
REBECCA SHOCKLEY, an Associate Professor of Music and Coordinator of Class Piano and Pedagogy at the University of Minnesota, has served as Chair of the Learning Theory-Piano Pedagogy Liaison Committee for the National Conference on Piano Pedagogy since its inception in 1984.