Private Teaching: Developing a Curriculum of Study

[percivalthehappyboy]

Speaking of assessing and "do no harm"...

I'm closer to the student than to the teacher. The only thing I really have to say, that hasn't already been said better by someone else, is don't let the students feel pressured to play higher than they should.

And they're going to want to.

[rockford]

[EBjazz]

Show them why you love music.
Listen to what they say.
Get to know them as human beings.
Make the lesson fun.
Teach them HOW to practice.

Eb
_________________
Eric Bolvin

www.bolvinmusic.com

[Kennedy]

Are there any "tricks" or motivational techniques that you use to encourage students to go past the bare-minimum requirement for practicing? I know not every student wants to play like Bud Herseth. They just enjoy playing the horn and want to become more proficient at it. I just wonder if there are some more subtle ways to encourage students to practice without being overbearing or intimidating?
_________________
Andrew Kennedy
University of Southern Mississippi
Trumpet Graduate Assistant

[AverageJoe]

[BJones]

Kennedy,

As far as getting your students to practice more, I have a couple things that seem to work well.

However, first keep in mind that they are middle/high school students. An hour a day of practice will be A LOT for them. But for us "just out of college or close to it" folk, an hour a day is WAY slacking off. Just keep it in perspective.

I structure my assignments, so I have ONE thing that absolutely MUST be done by the following lesson. It can be quite simple; but by the next lesson, they must do that ONE thing (like a line of a solo or Arban, or one key of Clarke 2) with ZERO mistakes at any speed. The key is actually in the simplicity. It doesn't seem too daunting or stressful, and thus students will do it, and often play a little bit more. How many times have you said, "Oh, I'll just practice for a little bit" and end up practicing for an hour or two? If you're anything like me, tons of times. The other reason I set it up this way: Success breeds Success. You do not continue to do something unless you get something out of it. If they are successful on ONE thing, and they see and feel that success, they are FAR more likely to continue doing what gave them that success, and that is practice.

I also assign them listening. Freddie Hubbard said it best: "For every hour you practice, listen for two." I think listening helps motivate, by giving you something to strive for, and it gives you sounds to sound like. We learn music best like we learn language... learning the sounds first, then learning what it looks like on paper.

Another thing I do, is have them keep a practice journal, with the time that they practiced, and what they practiced. This is not graded, nor are there expectations on how much they do. If they don't practice enough, they will know it, and they will often self-correct. Self-imposed guilt does wonders here. Have the parents sign it, to ensure it is honest, but emphasize that there is no "required" amount of time.

When working on fundamentals, I also emphasize that these things must be done all the time, and can be practiced any time you are playing; you don't necessarily have to sit down and work on them specifically.


In the end, all you can ask for, is that they are prepared for their next lesson. Sometimes life happens, and they are unable to practice a ton of extra time.


BJones
_________________
BM: Music Education, CWU

Bach 37/25; Bach 229/25H; Schilke E3L; Schilke P7-4; Kanstul 925 Flugel
Bach 1.5C, Reeves 43D/1.5 rim, Bach 7E, Curry 1.5F, Curry 3Z

[Kennedy]

BJones,

Man that is awesome! Thanks so much for this post. It's a very practical way of teaching.
_________________
Andrew Kennedy
University of Southern Mississippi
Trumpet Graduate Assistant

[robertgrier]

A lot of great advice here. I have my students bring a note book to the lessons. I number and date each lesson. I writ all assignments in their lesson book with comments about things to work on or remmeber to do. Like "hold notes for full count".

There is a great book for teachers I recommend. It's "How Children Learn" by John Holt. Children love to learn and figure things out. When they are successful at learning a new task , they become self motivating.
_________________
Bob Grier
An Old Pro
Web Cam lessons for trumpet and jazz improvisation
www.bobgriermusic.com
bgrierjr@triad.rr.com

[EBjazz]

Here's some things that may help you:

Lesson plan & manuscript book

http://www.bolvinmusic.com/publications3.html

Really Big Songbook

http://www.bolvinmusic.com/publications.html

Eb
_________________
Eric Bolvin

www.bolvinmusic.com

[Ed Lee]

OK, so I've just begun tutoring Middle school beginners with a once a week 1 hour session divided into 20 minutes playing, 20 minutes rest, 20 minutes playing. It is during their 20 minutes rest that I talk about and DEMONSTRATE how I want them to play. While in their school instrumental music program they are still in Standards of Exellence Book 1 and will be until the end of the school year, we've finished it and now are nearly half way through Book 2 as supplemented by simple arrangements of many songs they are familiar with.

[mafields627]

Actually, I think there CAN be a curriculum.

I studied with an orchestral principal player that never had any idea of what my assignment was from the previous week and never took me through a logical and sequential development of skill sets that I would need to become a better player. I was randomly assigned etudes and solos.

Yes, assess the students individually, BUT then use your knowledge of method books, etudes, solos, etc. to develop a curriculum for them. Sketch it out and have an idea of where you are going and revise/adapt based on their progress.
_________________
--Matt--

No representation is made that the quality of this post is greater than the quality of that of any other poster. Oh, and get a teacher!

[Craig Swartz]

If you really need ideas, or to plan a daily routine-type of curriculum, check out the Rubank Advanced series for trumpet. Check out the chart at the beginning, it covers scales/arpeggios, Melodic Interpretation (in the form of duets where you can teach style, nuance, listening, etc. by having the student follow your lead if they aren't getting it), a short etude-type study geared to explore articulation, lip flexibilities, ornamentation, even solo literature, although I usually would supplement other work. To that can be added range development, reading, transposition, jazz, what ever seems next in the student's development. Definitely get a copy of Eric's Really Big Songbook for their personal enjoyment, even reading, and of course Arbans can also be used- Eric has a book for that if you don't understand. Personally, I like to use Rubank over Arbans for most better MS and early HS students because there is some psychological boost to "finishing" a book and progressing to another- a goal in itself, if you will. If the student(s) you are working with is/are not up to starting Rubank, Vol, 1, at least you have examples of most of the basic fundamentals necessary to advance on the instrument. BTW- if I err in assessment, at least initially, I'd rather be wrong on the "too easy" side than to put out things that are far beyond the abilities. At least the student can complete the assignment if it's too easy, not so the other way around.

Finally, have you ever sat down and discussed this with Charlie??? He's a wealth of info and if he could create all of these improvements in you, he should be able to add to your insight. At least he's someone you can actually sit down and speak with. Good luck.

[MarkDustin]

The best book I've ever read on motivating students is "Bringing Out the Best in People" by Alan Loy McGinnis. Read it and memorize it.

[robertgrier]