My teaching philosophy
Learning from the various trainings in Suzuki, Colourstrings, Dalcroze, my personal experiences and those of many of my colleagues who are traditionalists, I like to form my own style by taking the best of each.
I believe in creating a musical environment as early as possible. Parents are often so busy that they just don't have time to create that environment as well as everything else they have to do, so I very much like the Colourstrings Kindergarten teaching that provides a short restful period in the day when parent and child can share some music in the company of other friends.
Some Suzuki violin teachers like to start tuition at the age of three. This is often an invitation to observe the lessons of others rather than the child starting on the instrument straight away. Even so, it is not usually possible to begin the cello as early as the violin because, with a bigger instrument, it is harder to depress the strings and the child's fingers are not strong enough if one starts too early. I think that 5 is the perfect age with a few children starting at 4 and a half.
The Suzuki philosophy that includes the parents is absolutely paramount. So many parents complain that their children will not practise but is that surprising? Human beings like to be in the company of other human beings. Adults may like to be on their own when working but children do not. Proper practising is hard work and to do it efficiently, one needs the intellect of an adult. The most well-intentioned practice of a child is not likely to be effective. Children always want to start at the beginning but if the difficulty is in the middle of a piece, that won't solve the problem. So it takes everything the parent has to find an efficient way to practise and to have the imagination to make this special period of every single day one that both parties can enjoy.
For this reason, the first term of lessons for my pupils are lessons for the parents - not just in cello playing but to learn how to tune the instrument, how to read music, how to write notes, how to take the practice sessions etc.
I like the step by step approach of the Suzuki method and I like that the pupils start without any music so that they can focus on the building blocks of a sound technique. Children do need to learn to read music at some point though and at the end of Book 1 I introduce regular sight-reading practice as well as the theory of music.
The Colourstrings method has an interesting approach because they teach reading in colours, each string having its own colour. They also teach the playing of harmonics to begin with, which is good for free left arm movement all over the cello and good psychologically for players feeling at ease in any part of the instruments. Those who stay in first position for a good long time can become afraid to move.
They also begin with guided bowing, which is good for freedom. The Suzuki method begins with rhythms, on the grounds that these are more appealing to children than long notes. They are also very useful rhythms that can be reviewed repeatedly as aids to more advanced pieces. I think there is a lot to be said for both and therefore try to include elements of both.
To be a good musician one needs to play in groups, as there are skills that can only be learned in that format. I hold group lessons three times termly. At first, the children are playing pieces that they have learned in unison but in time I give them pieces in several parts. They have to learn to listen and co-ordinate with others amongst many other things.
Throughout all these lessons, there is always an element of general musicianship. The term 'general' just means that it covers lots of elements, all of which are required to make music by oneself and with others. Dalcroze incorporated a lot of movement and improvisation into his work. All the great teachers have something to offer.
I believe in combining a detailed modern technique with a knowledge of historical techniques and the evolution that has brought us to today. As an Alexander Technique teacher I am very interested in movement and its processes. As a performer, I like to include all the elements particular to the projection of a performance to the audience. My philosophy is an all-round one.
I believe in creating a musical environment as early as possible. Parents are often so busy that they just don't have time to create that environment as well as everything else they have to do, so I very much like the Colourstrings Kindergarten teaching that provides a short restful period in the day when parent and child can share some music in the company of other friends.
Some Suzuki violin teachers like to start tuition at the age of three. This is often an invitation to observe the lessons of others rather than the child starting on the instrument straight away. Even so, it is not usually possible to begin the cello as early as the violin because, with a bigger instrument, it is harder to depress the strings and the child's fingers are not strong enough if one starts too early. I think that 5 is the perfect age with a few children starting at 4 and a half.
The Suzuki philosophy that includes the parents is absolutely paramount. So many parents complain that their children will not practise but is that surprising? Human beings like to be in the company of other human beings. Adults may like to be on their own when working but children do not. Proper practising is hard work and to do it efficiently, one needs the intellect of an adult. The most well-intentioned practice of a child is not likely to be effective. Children always want to start at the beginning but if the difficulty is in the middle of a piece, that won't solve the problem. So it takes everything the parent has to find an efficient way to practise and to have the imagination to make this special period of every single day one that both parties can enjoy.
For this reason, the first term of lessons for my pupils are lessons for the parents - not just in cello playing but to learn how to tune the instrument, how to read music, how to write notes, how to take the practice sessions etc.
I like the step by step approach of the Suzuki method and I like that the pupils start without any music so that they can focus on the building blocks of a sound technique. Children do need to learn to read music at some point though and at the end of Book 1 I introduce regular sight-reading practice as well as the theory of music.
The Colourstrings method has an interesting approach because they teach reading in colours, each string having its own colour. They also teach the playing of harmonics to begin with, which is good for free left arm movement all over the cello and good psychologically for players feeling at ease in any part of the instruments. Those who stay in first position for a good long time can become afraid to move.
They also begin with guided bowing, which is good for freedom. The Suzuki method begins with rhythms, on the grounds that these are more appealing to children than long notes. They are also very useful rhythms that can be reviewed repeatedly as aids to more advanced pieces. I think there is a lot to be said for both and therefore try to include elements of both.
To be a good musician one needs to play in groups, as there are skills that can only be learned in that format. I hold group lessons three times termly. At first, the children are playing pieces that they have learned in unison but in time I give them pieces in several parts. They have to learn to listen and co-ordinate with others amongst many other things.
Throughout all these lessons, there is always an element of general musicianship. The term 'general' just means that it covers lots of elements, all of which are required to make music by oneself and with others. Dalcroze incorporated a lot of movement and improvisation into his work. All the great teachers have something to offer.
I believe in combining a detailed modern technique with a knowledge of historical techniques and the evolution that has brought us to today. As an Alexander Technique teacher I am very interested in movement and its processes. As a performer, I like to include all the elements particular to the projection of a performance to the audience. My philosophy is an all-round one.
