by Chris Salter
Music is a universal language, a God-given joy meant for all of humanity— but we already discussed the challenges in learning the “language” of music in order to create our own. Let us explore further…
Traditionally, music education for the majority starts with the piano. It is a relatively simple instrument for newcomers to learn. A student can go as deep as he or she may want in piano, or even jump to another instrument like the guitar, flute, or a myriad of other instruments if he or she has a strong base in piano.
Let’s take a look at the options for an aspiring new piano player.
1. Traditional lessons
Of course, the first thought that typically comes to mind when looking to teach our children piano is, “Hey! Let’s get a piano teacher.” There are so many questions that arise when evaluating a potential teacher: (We will use ‘she” because the majority of piano teachers are women, but men of course can and do teach.) Whatever the gender, a number of questions arise.
“How do I know she is good at what she does?”
“She may play well, but can she teach well?”
Or, “will my children even like her?”
You see, there are as many styles of teaching as there are teachers, and finding the right one for you and your children is not unlike finding the perfect mate. A friend may recommend a teacher who suited her perfectly, but who may not necessarily mesh well with your children. For example, a teacher may insist on perfecting a single song, spending months on it before letting your child move on to the next, all while your child gets bored with the whole idea of lessons. Or, he may be at the opposite spectrum, providing less structure than your children need to learn what is necessary. You may have to try several different teachers until you find one that’s just right (maybe we should call this the “Goldilocks Method”). It is a problem that is similar to the traditional education system—the “one teacher fits all” approach. Even if you do find that special teacher, try getting her schedule to fit yours may be a new circus juggling trick for mom and dad, especially if it involves driving to and fro.
Unfortunately, most of us did not have that ideal teacher, or as nice and patient as she was, she was stuck in almost medieval approaches to teaching music. We’re all aware of the classic, almost caricature idea of the piano teacher that we grew up with: we’ll call her old Mrs. Williams, the lady who comes to your home once a week; or perhaps your children go to her in-
Unfortunately, most of us did not have that ideal teacher, or as nice and patient as she was, she was stuck in almost medieval approaches to teaching music. We’re all aware of the classic, almost caricature idea of the piano teacher that we grew up with: we’ll call her old Mrs. Williams, the lady who comes to your home once a week; or perhaps your children go to her in- home “studio” down the street for half an hour. We may have either heard or experienced the “horror stories” from our childhood: She explains musical notation and your children try to read it. She corrects them, perhaps nicely or perhaps not, and then tells your children to practice. Even without telling your children how they will know they are practicing correctly or not, she says just practice, which they do because you nag them to … (unless they forget, of course).
The next week she will try and undo what your children imprinted on themselves with bad practice. It can be confusing, uninspiring, and tedious; we know this is not at all why we actually wanted them to play music. But as we saw in our earlier report, it is not completely Mrs. Williams’ fault. She learned this way, and either she or her parents had the discipline or love of music to overcome the confusing tedium and actually learn. So, she follows the “tradition” and is proud of her pain, and now she wants to share that with your children. “It builds character!” some proclaim. Yet most children drop out or abandon the ordeal as soon as they have a chance, because there is no joy, only repetition and ineffectual learning of a confusing code. This is definitely a stereotype, but all to familiar in part or whole to many of us. What defines this is the theory first, read second and play last approach to classical music that even the most dedicated, loving and brilliant teachers cannot overcome easily. Yet it cannot be denied that finding the "right" piano teacher can change lives, and inspire a life long love of music, and even allow people to overcome the "barbed wire" of traditional music notation without being stranded and giving up halfway. A great teacher can help people overcome even the most confusing landscape, or at least inspire them to never give up. If the traditional approach to master music notation first is used, they will need that inspiration to get through the first painful years.
Traditional Lessons
Pros: Human interaction, modeling of music, can fill the gaps between music notation and actual playing.
Cons: Difficult to find a qualified and positive teacher, tends to be very notation centric, high cost especially for more than one child, practice is outside of teacher’s quality control, can actually discourage interest in music if the kids have bad experiences. Can be expensive and inconvenient, especially in multi-kid households. Practice is the true challenge, and kids can either waste the lessons by not practicing, or worse, by practicing wrong.
2. Non-traditional piano lessons
Another option is to learn from non-traditional piano teachers. These teachers and methods tend to take a non-literate or at least don't put music notation as the central approach to making music. They teach improvisation, perhaps in the style of “Play Piano in a Flash” which teaches songs like target keys to hit, to explore, with some basic chords and combinations that allow the student to mix and match, often rendering a great immediate sense of being able to play. Or, they teach rote learning of pieces, either through modeling, like the Suzuki method, or some form of alternate notation like colors, numbers, or letter names in some form. Since these alternate methods are not widely disseminated, or are introductory, the songs available in that format are often limited (think Mel Bay). Depending again on the teacher (often highly motivated because she found “another way”), these methods can lead to real music making, but there are some serious limitations to this approach. While they share the concerns about music notation being a frustrating experience that can actually kill interest in music, we know that whatever its faults, it is the only path to full musical literacy. Leaving music literacy out of the equation ultimately is extremely limiting for the aspiring musician, and can be a source of embarrassment for their whole lives, no matter what their musical accomplishments.
Students of these non-traditional methods may develop great technique and memory, or learn to play by ear and to improvise, but they are often helpless in front of sheet music, and ignorant of the musical workings of the great musical giants before them or around them. Still, the students tend to find some quicker path to initial success and real music, and may stay with it for life, even though their “musical vocabulary” and literacy limit them. However, it is one thing to pick out a simple melody and some chords, but most could never learn a Chopin prelude by ear, or even a four-part hymn, and so they remain “stuck” in what they can hear. As impressive as playing by ear is to many of us, it is like the oral tradition of some African tribes that have a storyteller remember long histories of their people. But that can never compete with being able to read and write. It is the same with music. As talented as these people are, only the rarest of them approach real fluency and an ability to replicate moderate, let alone complex, music scores. For many years, in particular with the piano, this was a well known challenge for Suzuki method students for example, though they have improved that somewhat (ironically by incorporating more “traditional” approaches to reading).
Non-Traditional Lessons
Pros: Human interaction, less dogmatic, innovative or at least novel, focused on making music instead of deciphering code. Can (because music-making is more concrete) lead to lifelong love of music.
Cons: Difficult or even impossible to learn classical or written sheet music, limiting children’s exposure to great musical minds and deeper musical study. Still expensive, especially for multiple children.. Practice is again outside of the teacher’s control and so no feedback until the next lesson.
The first two approaches discussed both involved engaging a piano teacher, whether traditional or non-traditional, there are some pros and cons universal to having a teacher, most of the cons being the practicality, expense and suitability of that person, and then the challenge of finding that person and scheduling lessons.
The struggle to find (and pay) a good teacher
Of course, there is no substitute for personal contact with a gifted teacher who patiently guides her students along the blissful musical journey, whether traditional or non-traditional. Ideally, she teaches, your children learn to play beautifully, falling in love with piano, and go on to lead a life full of musical joy. She loves music, gently moves them to try, rewards their every success, and makes them feel safe. She nurtures in your children a love of learning, gives them a gentle path to success, and most importantly, teaches them to enjoy the process and the practice. She is there, and can show them hand position, how the piece should be played (modeling is one of the primary ways we learn), and can help bridge the gap between notation and music. She encourages your children, gives them context, history, and different ways of looking at music, and if she is truly unique, she actually shows them ways to improvise and create their own music. As we explored in our first report, there are those lucky ones who are able to find an excellent teacher who loves piano, loves to teach children, and is great at what she does, awakening a hidden talent within the kids she comes in contact with.
Reality, unfortunately, is not always so lovely. While it is definitely possible, is it still improbable to find “the perfect teacher.” And, if she is that good, perhaps her time slots are full or she charges three times what the others do, per child.
But as wonderful as this ideal teacher may be, even if you can find her and afford her, all her work is for naught if your children do not practice, and practice properly. She cannot be there when they practice, so they will inevitably forget or improperly learn habits that have to be undone.
Another limiting factor, of course, is cost. If you do happen to come across the perfect piano instructor, and she actually has room in her schedule (if the whole world hasn’t discovered her just yet), it is not likely going to be inexpensive. The price will vary from teacher to teacher, and from area to area, but one can expect to pay anywhere from $40-$80 an hour for lessons, especially in an urban environment where there is more competition. If you have at least one lesson a week, this can very quickly become significant. And finally, this is only for just one child. If you’re like most families, you want to give this opportunity to all your children.
Additionally, these type of lessons involve a great deal of planning … driving to your child or children’s lessons, waiting for them to finish, then driving back to pick them up, week in and week out. Coordinating an already busy schedule may not sound very appealing, but it’s the price that many are willing to pay, and one may question, “is it really worth it”?
Ultimately, there are many pros and cons to working with a piano teacher— this path has worked for some, but definitely not most aspiring students, judging from their high dropout rates.
Stepping away from the practical challenges, another issue that arises with any type of in-person lessons, whether traditional or non-traditional, or whether group or private lessons, is parental involvement. Because of the nature of piano lessons, most teachers will not allow parents to sit in on lessons. This is not necessarily because they have something to hide, but it is simply not how they are used to working. In such a situation, how can we as parents get and stay involved in our children’s musical journey? Is it possible for us to learn in the process of teaching our children like we do while reading literature together, for example?
Yes, we may get “involved” by reminding them to practice at home, but often, our own limited knowledge of music would prevent us from getting engaged into the actual instruction as much as we’d like. Simply put, with lessons, we as parents cannot learn along with our children in the same way we do with their other homework.
Moving on, let’s look at some “in-home” solutions. (See Blog Link for rest of the Report)
Music is a universal language, a God-given joy meant for all of humanity— but we already discussed the challenges in learning the “language” of music in order to create our own. Let us explore further…
Traditionally, music education for the majority starts with the piano. It is a relatively simple instrument for newcomers to learn. A student can go as deep as he or she may want in piano, or even jump to another instrument like the guitar, flute, or a myriad of other instruments if he or she has a strong base in piano.
Let’s take a look at the options for an aspiring new piano player.
1. Traditional lessons
Of course, the first thought that typically comes to mind when looking to teach our children piano is, “Hey! Let’s get a piano teacher.” There are so many questions that arise when evaluating a potential teacher: (We will use ‘she” because the majority of piano teachers are women, but men of course can and do teach.) Whatever the gender, a number of questions arise.
“How do I know she is good at what she does?”
“She may play well, but can she teach well?”
Or, “will my children even like her?”
You see, there are as many styles of teaching as there are teachers, and finding the right one for you and your children is not unlike finding the perfect mate. A friend may recommend a teacher who suited her perfectly, but who may not necessarily mesh well with your children. For example, a teacher may insist on perfecting a single song, spending months on it before letting your child move on to the next, all while your child gets bored with the whole idea of lessons. Or, he may be at the opposite spectrum, providing less structure than your children need to learn what is necessary. You may have to try several different teachers until you find one that’s just right (maybe we should call this the “Goldilocks Method”). It is a problem that is similar to the traditional education system—the “one teacher fits all” approach. Even if you do find that special teacher, try getting her schedule to fit yours may be a new circus juggling trick for mom and dad, especially if it involves driving to and fro.
Unfortunately, most of us did not have that ideal teacher, or as nice and patient as she was, she was stuck in almost medieval approaches to teaching music. We’re all aware of the classic, almost caricature idea of the piano teacher that we grew up with: we’ll call her old Mrs. Williams, the lady who comes to your home once a week; or perhaps your children go to her in-
Unfortunately, most of us did not have that ideal teacher, or as nice and patient as she was, she was stuck in almost medieval approaches to teaching music. We’re all aware of the classic, almost caricature idea of the piano teacher that we grew up with: we’ll call her old Mrs. Williams, the lady who comes to your home once a week; or perhaps your children go to her in- home “studio” down the street for half an hour. We may have either heard or experienced the “horror stories” from our childhood: She explains musical notation and your children try to read it. She corrects them, perhaps nicely or perhaps not, and then tells your children to practice. Even without telling your children how they will know they are practicing correctly or not, she says just practice, which they do because you nag them to … (unless they forget, of course).
The next week she will try and undo what your children imprinted on themselves with bad practice. It can be confusing, uninspiring, and tedious; we know this is not at all why we actually wanted them to play music. But as we saw in our earlier report, it is not completely Mrs. Williams’ fault. She learned this way, and either she or her parents had the discipline or love of music to overcome the confusing tedium and actually learn. So, she follows the “tradition” and is proud of her pain, and now she wants to share that with your children. “It builds character!” some proclaim. Yet most children drop out or abandon the ordeal as soon as they have a chance, because there is no joy, only repetition and ineffectual learning of a confusing code. This is definitely a stereotype, but all to familiar in part or whole to many of us. What defines this is the theory first, read second and play last approach to classical music that even the most dedicated, loving and brilliant teachers cannot overcome easily. Yet it cannot be denied that finding the "right" piano teacher can change lives, and inspire a life long love of music, and even allow people to overcome the "barbed wire" of traditional music notation without being stranded and giving up halfway. A great teacher can help people overcome even the most confusing landscape, or at least inspire them to never give up. If the traditional approach to master music notation first is used, they will need that inspiration to get through the first painful years.
Traditional Lessons
Pros: Human interaction, modeling of music, can fill the gaps between music notation and actual playing.
Cons: Difficult to find a qualified and positive teacher, tends to be very notation centric, high cost especially for more than one child, practice is outside of teacher’s quality control, can actually discourage interest in music if the kids have bad experiences. Can be expensive and inconvenient, especially in multi-kid households. Practice is the true challenge, and kids can either waste the lessons by not practicing, or worse, by practicing wrong.
2. Non-traditional piano lessons
Another option is to learn from non-traditional piano teachers. These teachers and methods tend to take a non-literate or at least don't put music notation as the central approach to making music. They teach improvisation, perhaps in the style of “Play Piano in a Flash” which teaches songs like target keys to hit, to explore, with some basic chords and combinations that allow the student to mix and match, often rendering a great immediate sense of being able to play. Or, they teach rote learning of pieces, either through modeling, like the Suzuki method, or some form of alternate notation like colors, numbers, or letter names in some form. Since these alternate methods are not widely disseminated, or are introductory, the songs available in that format are often limited (think Mel Bay). Depending again on the teacher (often highly motivated because she found “another way”), these methods can lead to real music making, but there are some serious limitations to this approach. While they share the concerns about music notation being a frustrating experience that can actually kill interest in music, we know that whatever its faults, it is the only path to full musical literacy. Leaving music literacy out of the equation ultimately is extremely limiting for the aspiring musician, and can be a source of embarrassment for their whole lives, no matter what their musical accomplishments.
Students of these non-traditional methods may develop great technique and memory, or learn to play by ear and to improvise, but they are often helpless in front of sheet music, and ignorant of the musical workings of the great musical giants before them or around them. Still, the students tend to find some quicker path to initial success and real music, and may stay with it for life, even though their “musical vocabulary” and literacy limit them. However, it is one thing to pick out a simple melody and some chords, but most could never learn a Chopin prelude by ear, or even a four-part hymn, and so they remain “stuck” in what they can hear. As impressive as playing by ear is to many of us, it is like the oral tradition of some African tribes that have a storyteller remember long histories of their people. But that can never compete with being able to read and write. It is the same with music. As talented as these people are, only the rarest of them approach real fluency and an ability to replicate moderate, let alone complex, music scores. For many years, in particular with the piano, this was a well known challenge for Suzuki method students for example, though they have improved that somewhat (ironically by incorporating more “traditional” approaches to reading).
Non-Traditional Lessons
Pros: Human interaction, less dogmatic, innovative or at least novel, focused on making music instead of deciphering code. Can (because music-making is more concrete) lead to lifelong love of music.
Cons: Difficult or even impossible to learn classical or written sheet music, limiting children’s exposure to great musical minds and deeper musical study. Still expensive, especially for multiple children.. Practice is again outside of the teacher’s control and so no feedback until the next lesson.
The first two approaches discussed both involved engaging a piano teacher, whether traditional or non-traditional, there are some pros and cons universal to having a teacher, most of the cons being the practicality, expense and suitability of that person, and then the challenge of finding that person and scheduling lessons.
The struggle to find (and pay) a good teacher
Of course, there is no substitute for personal contact with a gifted teacher who patiently guides her students along the blissful musical journey, whether traditional or non-traditional. Ideally, she teaches, your children learn to play beautifully, falling in love with piano, and go on to lead a life full of musical joy. She loves music, gently moves them to try, rewards their every success, and makes them feel safe. She nurtures in your children a love of learning, gives them a gentle path to success, and most importantly, teaches them to enjoy the process and the practice. She is there, and can show them hand position, how the piece should be played (modeling is one of the primary ways we learn), and can help bridge the gap between notation and music. She encourages your children, gives them context, history, and different ways of looking at music, and if she is truly unique, she actually shows them ways to improvise and create their own music. As we explored in our first report, there are those lucky ones who are able to find an excellent teacher who loves piano, loves to teach children, and is great at what she does, awakening a hidden talent within the kids she comes in contact with.
Reality, unfortunately, is not always so lovely. While it is definitely possible, is it still improbable to find “the perfect teacher.” And, if she is that good, perhaps her time slots are full or she charges three times what the others do, per child.
But as wonderful as this ideal teacher may be, even if you can find her and afford her, all her work is for naught if your children do not practice, and practice properly. She cannot be there when they practice, so they will inevitably forget or improperly learn habits that have to be undone.
Another limiting factor, of course, is cost. If you do happen to come across the perfect piano instructor, and she actually has room in her schedule (if the whole world hasn’t discovered her just yet), it is not likely going to be inexpensive. The price will vary from teacher to teacher, and from area to area, but one can expect to pay anywhere from $40-$80 an hour for lessons, especially in an urban environment where there is more competition. If you have at least one lesson a week, this can very quickly become significant. And finally, this is only for just one child. If you’re like most families, you want to give this opportunity to all your children.
Additionally, these type of lessons involve a great deal of planning … driving to your child or children’s lessons, waiting for them to finish, then driving back to pick them up, week in and week out. Coordinating an already busy schedule may not sound very appealing, but it’s the price that many are willing to pay, and one may question, “is it really worth it”?
Ultimately, there are many pros and cons to working with a piano teacher— this path has worked for some, but definitely not most aspiring students, judging from their high dropout rates.
Stepping away from the practical challenges, another issue that arises with any type of in-person lessons, whether traditional or non-traditional, or whether group or private lessons, is parental involvement. Because of the nature of piano lessons, most teachers will not allow parents to sit in on lessons. This is not necessarily because they have something to hide, but it is simply not how they are used to working. In such a situation, how can we as parents get and stay involved in our children’s musical journey? Is it possible for us to learn in the process of teaching our children like we do while reading literature together, for example?
Yes, we may get “involved” by reminding them to practice at home, but often, our own limited knowledge of music would prevent us from getting engaged into the actual instruction as much as we’d like. Simply put, with lessons, we as parents cannot learn along with our children in the same way we do with their other homework.
Moving on, let’s look at some “in-home” solutions. (See Blog Link for rest of the Report)
