Today I received some amazing news. In many ways, I already feel happier, lighter, and more excited about teaching. But this news also brings a challenge.
The choir directors have reworked how they are dividing the duties of making this large department function well. And as part of that, they decided that they need to cover the organizational stuff related to running the voice program (assigning students to teachers, masterclass day, solo and ensemble contest, all-state auditions, etc.) and just let me teach. The good news is that I was doing a lot of stressful work for the department without any monetary compensation and now I don't have to worry about it.
On the other hand, although some of the work was dumped on me, some I took on voluntarily to make teaching and learning here a more positive experience. I'm a little nervous about some of those details and how they will be dealt with in the future, but I'm also viewing it as a chance for me to learn to let go and trust.
The first two tests of my ability to let go will happen very soon. One of the reasons I agreed to do the assigning of students was so that I could make sure I had enough students. By the end of the second week, I'll know what is happening there.
The second test will be studio rotation. I've always made a rotation schedule so all the teachers get a chance at the good room and no one gives all their lessons in the tiny modules. I don't know if someone will take care of this or not. My guess is that it will be a free for all, kind of like this summer. If you're the 1st one here, you get the good space. It's actually a great motivator to get here early.
So, I've been doing this for over a decade and it's time to let go. Since I won't be organizing anything, my January through mid-April should be much nicer. I just have to prepare my students for all the performances those months. That I can do. And I think I will be even better at it without all the other stuff to stress me out.
-- Posted from my iPhone
Tuesday, August 31, 2010
Thursday, August 26, 2010
Karl Paulnack's Welcome Address
In case you didn't catch this in the September/October 2010 Journal of Singing, here's a link to the Boston Conservatory page:
http://www.bostonconservatory.edu/s/940/Bio.aspx?sid=940&gid=1&pgid=1241
This is why I am a musician!
-- Posted from my iPhone
http://www.bostonconservatory.edu/s/940/Bio.aspx?sid=940&gid=1&pgid=1241
This is why I am a musician!
-- Posted from my iPhone
Playing for my students
I have a 2 tier "club" system for evaluating the expressiveness of my students' singing and admission to these "clubs" is hard to get. Club 2 is when the student in singing so expressively that they make me change the way I play (I become more expessive because of how they sing). Club 1 is when they give me goosebumps or make me cry.
Recent reading has made me remember that I also have the power as an accompanist to influence the expessivity of the singer. When I am only the accompanist, and don't have to be voice teacher as well, this is much easier to do. Sometimes when I am listening for technical issues my playing becomes more of just hitting the right notes in the right rhythms rather than creating music. My goal is to be more attentive to the possibilities of expression in the piano part from the very beginning of the student's learning process and thus encourage them to be expressive earlier.
In an article in the May 2010 Choral Journal, Tammy Miller discusses how an accompanist of a children's choir can aid the director in teaching expressivity. While playing parts to help the students learn the notes, an accompanist can model appropriate phrasing and articulation. I love this quote, "Quite simply, they will sing what I play the way I play it; they are easily influenced."
I've been reading Martin Katz's The Collaborative Pianist and have been pleasantly surprised to find that much of what he is telling the accompanists about building an interpretation is very similar to what I tell my singers. At first, my response was, "But isn't that the singer's choice to make?" But then I realized that he's right. If both the singer and the accompanist come to the rehearsal with interpretive ideas, it truly becomes more of a collaboration. The accompanist and singer can feed off the energy and emotions the other is bringing, creating a much more dynamic performance.
So now the question becomes, "How can I play differently in lesssons, from the first day of learning pitches, to help my students be more expressive?" I think I've already started to revise how my students learn a song. At the end of the last school year, I revised my Microwave Memorization method to involve not just learning notes and words quickly, but to include technique and interpretation from the very beginning. (To view the handout on this, click the Resources tab on my website www.jeanninerobinett.com)
My other goals are:
1. Always play melodies with expression (phrase shaping, dynamics, articulation, and meaning). They will sing it the way they hear it. If I bang, they will sound bad too.
2. Remember to ask them when we begin a new song what they think the song is about. We can further refine the interpretation in future lessons, but they need at least a general idea to get them started.
3. Practice committing to the interpretation AND listening for technical difficulties at the same time.
I started this post by explaining the 2 "clubs" to which my students aspire. Here are the 2 "clubs" that I'm working towards: Club 2--Inspire my students to be expressive by making every note that they hear me play expressive. Club 1--Give my students opportunities for goosebumps and crying as I demonstrate how beautiful those same old folk songs or Italian arias can be.
-- Posted from my iPhone
Recent reading has made me remember that I also have the power as an accompanist to influence the expessivity of the singer. When I am only the accompanist, and don't have to be voice teacher as well, this is much easier to do. Sometimes when I am listening for technical issues my playing becomes more of just hitting the right notes in the right rhythms rather than creating music. My goal is to be more attentive to the possibilities of expression in the piano part from the very beginning of the student's learning process and thus encourage them to be expressive earlier.
In an article in the May 2010 Choral Journal, Tammy Miller discusses how an accompanist of a children's choir can aid the director in teaching expressivity. While playing parts to help the students learn the notes, an accompanist can model appropriate phrasing and articulation. I love this quote, "Quite simply, they will sing what I play the way I play it; they are easily influenced."
I've been reading Martin Katz's The Collaborative Pianist and have been pleasantly surprised to find that much of what he is telling the accompanists about building an interpretation is very similar to what I tell my singers. At first, my response was, "But isn't that the singer's choice to make?" But then I realized that he's right. If both the singer and the accompanist come to the rehearsal with interpretive ideas, it truly becomes more of a collaboration. The accompanist and singer can feed off the energy and emotions the other is bringing, creating a much more dynamic performance.
So now the question becomes, "How can I play differently in lesssons, from the first day of learning pitches, to help my students be more expressive?" I think I've already started to revise how my students learn a song. At the end of the last school year, I revised my Microwave Memorization method to involve not just learning notes and words quickly, but to include technique and interpretation from the very beginning. (To view the handout on this, click the Resources tab on my website www.jeanninerobinett.com)
My other goals are:
1. Always play melodies with expression (phrase shaping, dynamics, articulation, and meaning). They will sing it the way they hear it. If I bang, they will sound bad too.
2. Remember to ask them when we begin a new song what they think the song is about. We can further refine the interpretation in future lessons, but they need at least a general idea to get them started.
3. Practice committing to the interpretation AND listening for technical difficulties at the same time.
I started this post by explaining the 2 "clubs" to which my students aspire. Here are the 2 "clubs" that I'm working towards: Club 2--Inspire my students to be expressive by making every note that they hear me play expressive. Club 1--Give my students opportunities for goosebumps and crying as I demonstrate how beautiful those same old folk songs or Italian arias can be.
-- Posted from my iPhone
Sunday, August 22, 2010
Put down the ducky
Once again, I apologize that blogging from my phone doesn't allow all the same helpful features as if I was at my computer. But here is a great link:
http://www.youtube.com/watch?v=SMAixgo_zJ4&feature=youtube_gdata_player
It's a lot of fun, plus it says something important to music students: Sometimes being a musician requires a sacrifice and we have to temporarily give up something really important to us to achieve our dreams. But we don't have to give it up forever, we can pick it back up again later.
-- Posted from my iPhone
http://www.youtube.com/watch?v=SMAixgo_zJ4&feature=youtube_gdata_player
It's a lot of fun, plus it says something important to music students: Sometimes being a musician requires a sacrifice and we have to temporarily give up something really important to us to achieve our dreams. But we don't have to give it up forever, we can pick it back up again later.
-- Posted from my iPhone
Friday, August 20, 2010
Questions and answers about my studio
On the Music Teacher's Helper Forum, a teacher posted a list of questions in the introductions section. I spent some time coming up with answers and decided that I might as well use this as a blog post. His questions reminded me of a survey I was putting together last year to learn more about how other voice teachers teach and run their businesses. I'll post those questions and my own answers sometime in the future. For now, here are my answers to the questions on the MTH forum:
1. Your name (or remain anonymous).
Jeannine Robinett
www.jeanninerobinett.com
2. Instrument(s) taught and/or voice?
I used to teach piano and organ too, but now my studio has grown enough that I can focus on what I do best and love most--teaching voice.
3. Years of teaching experience? Your age?
I am 40 years old and have been teaching voice for 17 or 18 years.
4. Did you have formal teacher training?
I have B.M. and M.M. degrees in vocal performance and my course work for both included classes in vocal pedagogy. In addition, I started out as an elementary ed major and completed many of the required courses there before switching to music.
5. Typical high and low numbers of students during the year? Approximate number of hours spent teaching each week?
I teach between 60 and 100 students during the school year and about half that during the summer. When I have close to 100 students, it is usually because I am teaching several small groups (3-6 students sharing a lesson). I have 28-35 hours of student contact time per week during the school year.
6. Do you perform? If so, roughly what percentage of your musical income/time is spent performing vs. teaching?
I have not done much performing professionally in the last 10 years, but I am currently preparing a recital.
7. Do you teach music privately or are you an employee of a school (or both)? If teaching privately, do you use a home studio or rent elsewhere? If a school, what kind?
I am a private contractor that works in a public school. Technically I own my own business. The students pay me directly, but I teach at the school. Students leave their choir classes or study halls for lessons.
8. Do you have paid work other than music teaching? If so, What do you do? How much time do you spend teaching music compared with other work? Is this by necessity or preference?
With the exception of the occassional performance or adjudication, my income is entirely from teaching. I prefer this. Over the years I have been able to cut back on other work and also to condense my studio to one location and this has made my life much simpler and happier.
9. What are your rates? If you don’t mind, indicate the range of your monthly income from teaching music.
Tuition is $160 per quarter for half hour lessons which includes 7 lessons plus a studio class and/or recital. During the summer I charge $23 for half hour lessons and most students enrolled for summer take between 5 and 10 lessons.
Because most students pay quarterly, I have some months that are over $8,000 and some that are under $1,000. Since the size of my studio varies from year to year, the only way I can really figure out a monthly income is to add up the last year and divide by 12. It make my own personal budgeting rather complicated.
10. Do you limit what students you work with in terms of level, age, gender, style of music, etc.?
Although I do accept children, it is always on a trial basis. Generally I prefer to work with middle school aged students and older. I teach many styles, but reserve the right to "veto" any song a student brings in that is inappropipriate for them based on their age and vocal development. The foundation of what I teach is classical, and all my students receive some classical training even if it is only to compare it to other styles and techniques. I specialize in beginning and intermediate students, but also teach advanced and professional singers. If they need more than I feel that I can give them, I send them on to someone else.
11. Do you have student recitals? If so, how often? Are they encouraged or required of students?
I have a recital at the end of the school year plus an informal Holiday recital/party. Students also have the opportunity to perform at 3 studio classes held throughout the year. Performance is encouraged, but not required. However, studio classes and recitals are part of their tuition package and I don't give refunds if they choose not to participate.
12. Do you prepare students for competitions or auditions?
All my high school students are given the opportunity to sing at the district Solo and Ensemble Contest. Sometimes other competition or audition experiences are offered to students meeting the entrance requirements. I prepare students for choir auditions, musical auditions, and any other auditions for school related events.
13. Do you teach private students or classes or both?
Most of my lessons are private lessons, but through the school, I also offer 2 person lessons and small group lessons.
14. Do you coach ensembles? If so, how large?
At this time, I only work with small ensembles (duets, trios, etc.) in preparation for Contest.
15. Do you teach at music camps?
I'm not currently connected to any camps, but would love to do more of this. Contact me if you know of any good opportunities.
16. Best experience(s) with students?
The best experiences are when I see my students succeed. Sometimes it's a big success, but often it's just those little light bulb moments when you know they get it.
17. Worst experience that comes to mind?
Having to tell a talented student that really wanted to learn that I couldn't teach her anymore until her divorced parents figured out who was going to pay the $355 that they already owed me. Especially in cases like this, I wish I could teach for free, but then how would I pay my bills?
18. Funniest experience?
We laugh and have a good time in lessons, but for some reason, I can't think of any really funny experiences.
19. What is most rewarding to you about teaching?
Watching students grow. Even the little steps forward are exciting to me. Sometimes the most rewarding lessons are not the ones of the star students, but the ones where the kid finally sings a phrases matching all of the pitches correctly. I love teaching the kids that frustrate other teachers.
20. What is most challenging?
The most challenging aspect of teaching is dealing with the students and the parents that want instant miracles, that don't understand that learning to sing well takes time, effort, and patience.
21. Have you ever felt burnt out at any time, and if so, what did you do about it?
I lived in burnout mode for several years. For me, burnout was a result of overworking. Even if you love what you do, too much of it can kill you. Over the past 5 years or so, I voluntarily cut back giving up about $13,000 of income per year. Financially, life is a little trickier, but I feel better, and I am a better teacher. I've also invested my time and money in things that feed me, like conventions, continuing education classes, and Tai Chi classes.
22. Are you a member of a professional organization?
I am a member of NATS, ACDA, MTNA and MMTA.
23. Do you attend conferences, workshops, lessons or classes for your own professional development?
Absolutely! This year I attended 3 conferences/conventions. Yes, it's expensive, but it is so worth it.
24. When teaching, do you use published materials, your own materials, or both?
I use many of the same voice anthologies that most voice teachers use. I have a huge personal music library plus a lending library for students who cannot afford to purchase music. On my studio website, students can access numerous handouts that I have prepared on voice related topics.
25. Do you use recordings in teaching?
Yes, I have students listen to professional recordings and I also record students singing at their lessons and have them listen to it.
26. Do you advertise?
My advertising is minimal. At the beginning of the school year, I attend Open House and Orientation, and go to the choir classes to talk to students and their parents about lessons. I also let the teachers at our school plus the middle schools know when I have openings in case they have students that ask about lessons. My website might serve as advertising, but I haven't paid any fees to make sure that it comes up at the top of searches.
-- Posted from my iPhone
1. Your name (or remain anonymous).
Jeannine Robinett
www.jeanninerobinett.com
2. Instrument(s) taught and/or voice?
I used to teach piano and organ too, but now my studio has grown enough that I can focus on what I do best and love most--teaching voice.
3. Years of teaching experience? Your age?
I am 40 years old and have been teaching voice for 17 or 18 years.
4. Did you have formal teacher training?
I have B.M. and M.M. degrees in vocal performance and my course work for both included classes in vocal pedagogy. In addition, I started out as an elementary ed major and completed many of the required courses there before switching to music.
5. Typical high and low numbers of students during the year? Approximate number of hours spent teaching each week?
I teach between 60 and 100 students during the school year and about half that during the summer. When I have close to 100 students, it is usually because I am teaching several small groups (3-6 students sharing a lesson). I have 28-35 hours of student contact time per week during the school year.
6. Do you perform? If so, roughly what percentage of your musical income/time is spent performing vs. teaching?
I have not done much performing professionally in the last 10 years, but I am currently preparing a recital.
7. Do you teach music privately or are you an employee of a school (or both)? If teaching privately, do you use a home studio or rent elsewhere? If a school, what kind?
I am a private contractor that works in a public school. Technically I own my own business. The students pay me directly, but I teach at the school. Students leave their choir classes or study halls for lessons.
8. Do you have paid work other than music teaching? If so, What do you do? How much time do you spend teaching music compared with other work? Is this by necessity or preference?
With the exception of the occassional performance or adjudication, my income is entirely from teaching. I prefer this. Over the years I have been able to cut back on other work and also to condense my studio to one location and this has made my life much simpler and happier.
9. What are your rates? If you don’t mind, indicate the range of your monthly income from teaching music.
Tuition is $160 per quarter for half hour lessons which includes 7 lessons plus a studio class and/or recital. During the summer I charge $23 for half hour lessons and most students enrolled for summer take between 5 and 10 lessons.
Because most students pay quarterly, I have some months that are over $8,000 and some that are under $1,000. Since the size of my studio varies from year to year, the only way I can really figure out a monthly income is to add up the last year and divide by 12. It make my own personal budgeting rather complicated.
10. Do you limit what students you work with in terms of level, age, gender, style of music, etc.?
Although I do accept children, it is always on a trial basis. Generally I prefer to work with middle school aged students and older. I teach many styles, but reserve the right to "veto" any song a student brings in that is inappropipriate for them based on their age and vocal development. The foundation of what I teach is classical, and all my students receive some classical training even if it is only to compare it to other styles and techniques. I specialize in beginning and intermediate students, but also teach advanced and professional singers. If they need more than I feel that I can give them, I send them on to someone else.
11. Do you have student recitals? If so, how often? Are they encouraged or required of students?
I have a recital at the end of the school year plus an informal Holiday recital/party. Students also have the opportunity to perform at 3 studio classes held throughout the year. Performance is encouraged, but not required. However, studio classes and recitals are part of their tuition package and I don't give refunds if they choose not to participate.
12. Do you prepare students for competitions or auditions?
All my high school students are given the opportunity to sing at the district Solo and Ensemble Contest. Sometimes other competition or audition experiences are offered to students meeting the entrance requirements. I prepare students for choir auditions, musical auditions, and any other auditions for school related events.
13. Do you teach private students or classes or both?
Most of my lessons are private lessons, but through the school, I also offer 2 person lessons and small group lessons.
14. Do you coach ensembles? If so, how large?
At this time, I only work with small ensembles (duets, trios, etc.) in preparation for Contest.
15. Do you teach at music camps?
I'm not currently connected to any camps, but would love to do more of this. Contact me if you know of any good opportunities.
16. Best experience(s) with students?
The best experiences are when I see my students succeed. Sometimes it's a big success, but often it's just those little light bulb moments when you know they get it.
17. Worst experience that comes to mind?
Having to tell a talented student that really wanted to learn that I couldn't teach her anymore until her divorced parents figured out who was going to pay the $355 that they already owed me. Especially in cases like this, I wish I could teach for free, but then how would I pay my bills?
18. Funniest experience?
We laugh and have a good time in lessons, but for some reason, I can't think of any really funny experiences.
19. What is most rewarding to you about teaching?
Watching students grow. Even the little steps forward are exciting to me. Sometimes the most rewarding lessons are not the ones of the star students, but the ones where the kid finally sings a phrases matching all of the pitches correctly. I love teaching the kids that frustrate other teachers.
20. What is most challenging?
The most challenging aspect of teaching is dealing with the students and the parents that want instant miracles, that don't understand that learning to sing well takes time, effort, and patience.
21. Have you ever felt burnt out at any time, and if so, what did you do about it?
I lived in burnout mode for several years. For me, burnout was a result of overworking. Even if you love what you do, too much of it can kill you. Over the past 5 years or so, I voluntarily cut back giving up about $13,000 of income per year. Financially, life is a little trickier, but I feel better, and I am a better teacher. I've also invested my time and money in things that feed me, like conventions, continuing education classes, and Tai Chi classes.
22. Are you a member of a professional organization?
I am a member of NATS, ACDA, MTNA and MMTA.
23. Do you attend conferences, workshops, lessons or classes for your own professional development?
Absolutely! This year I attended 3 conferences/conventions. Yes, it's expensive, but it is so worth it.
24. When teaching, do you use published materials, your own materials, or both?
I use many of the same voice anthologies that most voice teachers use. I have a huge personal music library plus a lending library for students who cannot afford to purchase music. On my studio website, students can access numerous handouts that I have prepared on voice related topics.
25. Do you use recordings in teaching?
Yes, I have students listen to professional recordings and I also record students singing at their lessons and have them listen to it.
26. Do you advertise?
My advertising is minimal. At the beginning of the school year, I attend Open House and Orientation, and go to the choir classes to talk to students and their parents about lessons. I also let the teachers at our school plus the middle schools know when I have openings in case they have students that ask about lessons. My website might serve as advertising, but I haven't paid any fees to make sure that it comes up at the top of searches.
-- Posted from my iPhone
Thursday, August 19, 2010
Accompanists
I've been asked to speak to a group of music teachers in a couple of months about accompanying. I can go any direction I want, but it was suggested that I might want to include training young accompanists. As I considered what I want to talk about, I decided that it might be best to structure my comments using my own musical history.
As I started making a list of people, events, and experiences that helped me to learn to accompany, I made a somewhat unsettling discovery: I received the training and nurturing that I needed as a young accompanist because I went to schools that couldn't afford to hire professional accompanists and coaches, and the church I attended does not hire professional musicians. I was given opportunities as an accompanist because there was no one else to do it.
I now live in an area where schools and churches hire professional musicians. In many ways, this is a good thing. The quality of the performances is better, and musicians are able to make money doing what we have invested a great deal of time and money in learning to do. I believe musicians should be paid, but what opportunities for training the next generation are missed when we hire professionals? Is there a way to hire professionals, maintain a high level of artistry, AND give young people the opportunities they need to learn?
Then the question becomes why should we teach young people to be accompanists? If that is truly the profession they want, there are many wonderful collaborative piano programs at the University level. Do students need collaborative experience prior to college? What about those that won't be pursuing this as a career, those students whose adult musical experiences will be avocational at best? Should we teach them to accompany and if so, why? What purpose will it serve?
Although I do occassionally take an accompanying gig, this is not my main source of income. However, the experiences I have had as an accompanist have shaped who I am as a musician, teacher, and human being.
Here is one small example from my accompanying "career" that changed me in more ways than just making me a better accompanist. Weston Noble is a big name in the choral world, especially here in the Midwest. When I was a student, and the choir accompanist, at Idaho State University, he came for a festival or clinic, or some similar event. I don't really remember the details, but I remember how he changed my life. I've always been really good at "following", but he encouraged me to do more. He taught me to be open to the music and how to work with him collaboratively, not merely follow his beat pattern. I don't really even remember what he said, but it changed the way I viewed the music, the way I viewed the performance experience, and the way I viewed myself. For a big event like that, perhaps they should have brought in someone with better technique and more experience, but I am very glad they didn't. And because they didn't I learned about trust.
I will never play as well as my accompanist/coach. She is amazing. But does that mean that I shouldn't call myself an accompanist or that I shouldn't play for groups or soloist when I am needed? Absolutely not! Yes, we need amazing accompanists and coaches, but there are places in the world where those of us that are just pretty good can do just fine. There are even times when those who doubt their skills can be great.
Watch for future posts as I explore who we should teach to accompany and why.
-- Posted from my iPhone
As I started making a list of people, events, and experiences that helped me to learn to accompany, I made a somewhat unsettling discovery: I received the training and nurturing that I needed as a young accompanist because I went to schools that couldn't afford to hire professional accompanists and coaches, and the church I attended does not hire professional musicians. I was given opportunities as an accompanist because there was no one else to do it.
I now live in an area where schools and churches hire professional musicians. In many ways, this is a good thing. The quality of the performances is better, and musicians are able to make money doing what we have invested a great deal of time and money in learning to do. I believe musicians should be paid, but what opportunities for training the next generation are missed when we hire professionals? Is there a way to hire professionals, maintain a high level of artistry, AND give young people the opportunities they need to learn?
Then the question becomes why should we teach young people to be accompanists? If that is truly the profession they want, there are many wonderful collaborative piano programs at the University level. Do students need collaborative experience prior to college? What about those that won't be pursuing this as a career, those students whose adult musical experiences will be avocational at best? Should we teach them to accompany and if so, why? What purpose will it serve?
Although I do occassionally take an accompanying gig, this is not my main source of income. However, the experiences I have had as an accompanist have shaped who I am as a musician, teacher, and human being.
Here is one small example from my accompanying "career" that changed me in more ways than just making me a better accompanist. Weston Noble is a big name in the choral world, especially here in the Midwest. When I was a student, and the choir accompanist, at Idaho State University, he came for a festival or clinic, or some similar event. I don't really remember the details, but I remember how he changed my life. I've always been really good at "following", but he encouraged me to do more. He taught me to be open to the music and how to work with him collaboratively, not merely follow his beat pattern. I don't really even remember what he said, but it changed the way I viewed the music, the way I viewed the performance experience, and the way I viewed myself. For a big event like that, perhaps they should have brought in someone with better technique and more experience, but I am very glad they didn't. And because they didn't I learned about trust.
I will never play as well as my accompanist/coach. She is amazing. But does that mean that I shouldn't call myself an accompanist or that I shouldn't play for groups or soloist when I am needed? Absolutely not! Yes, we need amazing accompanists and coaches, but there are places in the world where those of us that are just pretty good can do just fine. There are even times when those who doubt their skills can be great.
Watch for future posts as I explore who we should teach to accompany and why.
-- Posted from my iPhone
Thursday, August 12, 2010
Making a Difference
The August 2010 issue of Minnesota Women's Press (see www.womenspress.com) celebrates the 90th anniversary of women's right to vote. When I learned that it took over 70 years to get the 19th Amendment passed and the work that generations of women did to bring this about, it made me think once again about what I am doing to make a difference in the world. Is it enough? How much longer might it have taken if fewer women had spoken up? How much sooner might we have been given this right if more women had taken a stand?
With a few minor exceptions, I am healthier than I have been in over 20 years. The last several years have been about me focusing on the things that will bring peace and health to my life. I know I can't return to the overcommitted and stressful life I used to live, but is there room in my life to do something more to make a difference?
I love my current job, and don't see myself leaving it in the near future, but it was never my intent to spend my life here. This was a temporary job to pay the bills and help me gain valuable experience. The real dream, and the one that I still see at some point in my future is running my own non-profit arts school where all students, regardless of ability or financial situation, can have a life changing experience with the arts. I've seen a lot of kids miss out on these opportunities simply because there was no money to pay for them. I know teachers that only want to teach the best and the brightest because the are the most fun to teach and they make the teacher look good.
Yes, I do love it when one of my "stars" succeeds, but I know that some of my most rewarding moments as a teacher have been in seeing the growth in those students that some other teachers might label hopeless. And the growth I'm talking about is not just vocal. In my early years as a voice teacher, I had an adult student that was going through some major struggles and life changes. As we worked on a hymn we talked about what those words meant to her, especially with the situations she was dealing with. She chose to sing this song at the recital. Afterwards, an audience member (who is also a voice teacher) told me how touched she had been by this student's performance. Technically, it wasn't the best performance on the program, but because this woman sang from her heart and let us know what she knew, it was the most beautiful performance on the program. That is why I teach--to help students find the beauty and to help them know how to share it.
Last month I had a great talk with a friend, fellow voice teacher, and one of my teachers and mentors about my dream. At that point, I was really in the "I need to do more" mode. She reminded me of how important what I'm doing right now is. The students that I'm teaching now will take the things they learn (whether it is technique, discipline, music appreciation, or any number of things) and use them and share them throughout their lives. She made a difference in my life, and because she did, I am now making a difference in the lives of my students. OK, I will admit that some will leave my studio having changed very little if at all, but whatever influence I do have will continue to echo through generations.
In the past two weeks, I've heard from two different people (that didn't really stand out in my memory) that I had made a difference. They were still using tools that I taught them. Even more than the talk with my friend, these incidents reminded me of the difference I can make, that I do make, every single day.
But the question still remains--Is there more that I can do? Are there bigger issues that I can and should be taking a stand on? When is the right time, both in my life and in the history of the cause for me to become actively involved? Can I simply share what I feel and believe, or do my actions and how I choose to spend my time need to say something about what is important to me? Are rallies, marches, and hunger strikes in my future? How far am I willing to go, what am I willing to risk to make a difference?
-- Posted from my iPhone
With a few minor exceptions, I am healthier than I have been in over 20 years. The last several years have been about me focusing on the things that will bring peace and health to my life. I know I can't return to the overcommitted and stressful life I used to live, but is there room in my life to do something more to make a difference?
I love my current job, and don't see myself leaving it in the near future, but it was never my intent to spend my life here. This was a temporary job to pay the bills and help me gain valuable experience. The real dream, and the one that I still see at some point in my future is running my own non-profit arts school where all students, regardless of ability or financial situation, can have a life changing experience with the arts. I've seen a lot of kids miss out on these opportunities simply because there was no money to pay for them. I know teachers that only want to teach the best and the brightest because the are the most fun to teach and they make the teacher look good.
Yes, I do love it when one of my "stars" succeeds, but I know that some of my most rewarding moments as a teacher have been in seeing the growth in those students that some other teachers might label hopeless. And the growth I'm talking about is not just vocal. In my early years as a voice teacher, I had an adult student that was going through some major struggles and life changes. As we worked on a hymn we talked about what those words meant to her, especially with the situations she was dealing with. She chose to sing this song at the recital. Afterwards, an audience member (who is also a voice teacher) told me how touched she had been by this student's performance. Technically, it wasn't the best performance on the program, but because this woman sang from her heart and let us know what she knew, it was the most beautiful performance on the program. That is why I teach--to help students find the beauty and to help them know how to share it.
Last month I had a great talk with a friend, fellow voice teacher, and one of my teachers and mentors about my dream. At that point, I was really in the "I need to do more" mode. She reminded me of how important what I'm doing right now is. The students that I'm teaching now will take the things they learn (whether it is technique, discipline, music appreciation, or any number of things) and use them and share them throughout their lives. She made a difference in my life, and because she did, I am now making a difference in the lives of my students. OK, I will admit that some will leave my studio having changed very little if at all, but whatever influence I do have will continue to echo through generations.
In the past two weeks, I've heard from two different people (that didn't really stand out in my memory) that I had made a difference. They were still using tools that I taught them. Even more than the talk with my friend, these incidents reminded me of the difference I can make, that I do make, every single day.
But the question still remains--Is there more that I can do? Are there bigger issues that I can and should be taking a stand on? When is the right time, both in my life and in the history of the cause for me to become actively involved? Can I simply share what I feel and believe, or do my actions and how I choose to spend my time need to say something about what is important to me? Are rallies, marches, and hunger strikes in my future? How far am I willing to go, what am I willing to risk to make a difference?
-- Posted from my iPhone
Tuesday, August 10, 2010
What I do has value
I just read this article http://esswellness.com/news/newsitem.aspx?newsid=868&newsitemid=4615
and was impressed by how easily I could substitute my teaching every time he refers to healing. For starters, although the primary goals of voice lessons is not healing, I think anyone that really invests themselves in the art eventually finds healing.
The author, Timothy Cope, addresses several issues that people making their livings as healers have to deal with. He talks about how difficult it is to find that perfect rate for our services where we are not asking too much and exploiting our clients, or asking too little and exploiting ourselves. This is tricky. In some ways I am glad that the school sets my fees. Since the students at school are the majority of my students, I just charge my non-school students the same amount. Based on my education and experience, I would be comfortable charging more, but I don't need to. What does get tricky though is every few years when I approach the vocal music staff about raising our rates. I understand that we want to keep things affordable, but the parents and the salaried staff need to understand that we don't get a cost of living increase each year. The good news is, I think our rates are fine for at least a couple more years. Now I just need to make sure I have enough students.
Which brings me to one of Cope's other points. We are dependent on our clients (or students). We need them so we can pay the rent. I love this sentence, or maybe hate it, or perhaps it just scares me because it is true: "Further thoughts, barely audible to our own awareness, may whisper suggestions on how to encourage our clients coming back, perhaps not so much because it is in their best interests, but because it seems to be in ours."
As a young teacher with a ton of debt, every student that wanted to change teachers or take a break was not just a blow to my ego, but a severe stress on my financial situation as well. On the outside, I think I handled things quite professionally, but on the inside I was desperately trying to come up with ways to make it work for them to keep taking lessons, even when I knew that staying with me was not in their best interest or in mine in any way other than financially.
I'm proud to report that I'm growing up. I think I am better able to help students make the decision that is best for them. Here us an example. I have a young student that is also a dancer. This fall, she will be doing dance team at school, studio dance, and her choir at church which basically means that Monday through Friday she will be on the go from 7am to 9pm. Her mother emailed to ask if she could take a break from lessons until dance team is over in a couple of months. My brain first thought of how much money I would lose if she took 2 months off. Then the smarter, more mature, more caring teacher took over (thank goodness). If I say no and insist that she continue studying, I will be adding incredible stress to a young student's life. If she is stressed out and sleep deprived, she will not sing well. It is in her best interest to take this break. What I can do is make these next few lessons the kind of experience that makes her want to come back. I can also give her some little things she can do during the break to help maintain the skills she has already developed. I made a choice based on what is best for her, and I know in the long run, that it will also be the best choice for me.
Cope also talks about sacred exchange saying, "vendor and healer, client and customer, are all sacred beings and what passes between them is sacred too". I truly view my "job" not just as a way to make money, but my true calling, what I was brought here to do. Though we don't often discuss religion, or even things of a spiritual nature in lessons, I believe that what I do is sacred. Singing is so very personal and vulnerable, that if I fail to see to true worth of that person standing in front of me, I cannot truly be the teacher they need. Seeing my part of the exchange as sacred is not new to me. Seeing that check I receive as sacred is a new idea that I think I like.
Finally, Cope has this to say about our businesses, "Perhaps we need to devote as much time to understanding the subtleties and complexities of business as we do our healing disiplines and modalities". I've spent a lot of time and an obscene amount of money this year attending conferences and learning more about the voice and teaching singing. What would my business be like if I invested the same time, money, and energy in learning about business? Personally, I would just like to show up in the studio and teach and have someone else deal with all the other stuff. But that won't be a reality anytime soon, so I need to find ways to make this sacred service that I give also be a profitable business.
-- Posted from my iPhone
and was impressed by how easily I could substitute my teaching every time he refers to healing. For starters, although the primary goals of voice lessons is not healing, I think anyone that really invests themselves in the art eventually finds healing.
The author, Timothy Cope, addresses several issues that people making their livings as healers have to deal with. He talks about how difficult it is to find that perfect rate for our services where we are not asking too much and exploiting our clients, or asking too little and exploiting ourselves. This is tricky. In some ways I am glad that the school sets my fees. Since the students at school are the majority of my students, I just charge my non-school students the same amount. Based on my education and experience, I would be comfortable charging more, but I don't need to. What does get tricky though is every few years when I approach the vocal music staff about raising our rates. I understand that we want to keep things affordable, but the parents and the salaried staff need to understand that we don't get a cost of living increase each year. The good news is, I think our rates are fine for at least a couple more years. Now I just need to make sure I have enough students.
Which brings me to one of Cope's other points. We are dependent on our clients (or students). We need them so we can pay the rent. I love this sentence, or maybe hate it, or perhaps it just scares me because it is true: "Further thoughts, barely audible to our own awareness, may whisper suggestions on how to encourage our clients coming back, perhaps not so much because it is in their best interests, but because it seems to be in ours."
As a young teacher with a ton of debt, every student that wanted to change teachers or take a break was not just a blow to my ego, but a severe stress on my financial situation as well. On the outside, I think I handled things quite professionally, but on the inside I was desperately trying to come up with ways to make it work for them to keep taking lessons, even when I knew that staying with me was not in their best interest or in mine in any way other than financially.
I'm proud to report that I'm growing up. I think I am better able to help students make the decision that is best for them. Here us an example. I have a young student that is also a dancer. This fall, she will be doing dance team at school, studio dance, and her choir at church which basically means that Monday through Friday she will be on the go from 7am to 9pm. Her mother emailed to ask if she could take a break from lessons until dance team is over in a couple of months. My brain first thought of how much money I would lose if she took 2 months off. Then the smarter, more mature, more caring teacher took over (thank goodness). If I say no and insist that she continue studying, I will be adding incredible stress to a young student's life. If she is stressed out and sleep deprived, she will not sing well. It is in her best interest to take this break. What I can do is make these next few lessons the kind of experience that makes her want to come back. I can also give her some little things she can do during the break to help maintain the skills she has already developed. I made a choice based on what is best for her, and I know in the long run, that it will also be the best choice for me.
Cope also talks about sacred exchange saying, "vendor and healer, client and customer, are all sacred beings and what passes between them is sacred too". I truly view my "job" not just as a way to make money, but my true calling, what I was brought here to do. Though we don't often discuss religion, or even things of a spiritual nature in lessons, I believe that what I do is sacred. Singing is so very personal and vulnerable, that if I fail to see to true worth of that person standing in front of me, I cannot truly be the teacher they need. Seeing my part of the exchange as sacred is not new to me. Seeing that check I receive as sacred is a new idea that I think I like.
Finally, Cope has this to say about our businesses, "Perhaps we need to devote as much time to understanding the subtleties and complexities of business as we do our healing disiplines and modalities". I've spent a lot of time and an obscene amount of money this year attending conferences and learning more about the voice and teaching singing. What would my business be like if I invested the same time, money, and energy in learning about business? Personally, I would just like to show up in the studio and teach and have someone else deal with all the other stuff. But that won't be a reality anytime soon, so I need to find ways to make this sacred service that I give also be a profitable business.
-- Posted from my iPhone
Saturday, August 7, 2010
The student is the method and fact based pedagogy
I had a wonderful time at the NATS Conference in July and came away excited to apply the new things I learned and refine my approach to some of my ideas that were reinforced.
During the course of the conference, several references were made to Scott McCoy's term "fact based pedagogy". In a masterclass, Stephen King said something to the effect of "the student is the method" meaning that our pedagogy needs to be specific to the technical needs (and I will add learning styles) of the student we are working with at that moment; there is no "One size fits all". I also loved the bodymapping sessions with Kurt-Alexander Zeller and bought the book What Every Singer Needs To Know About the Body.
It is these 3 ideas that I want to explore together in this post: fact based pedagogy, the singer is the method, and bodymapping, specifically as it is approached in the book listed above.
First, let me start by saying that "the student is the method" has been my approach for a very long time. All though some of my teachers were "one size fits all" teachers, as an accompanist I had the opportunity to play in many studios and learned from that experience that there were multiple valid approaches (and some crazy ones) to working with any issue or student.
I've also learned that some of the worst instructions I ever received, that totally messed up my singing, can actually help some students in some situations. I'll explain more later as I discuss the "vocal myths" presented in the bodymapping book.
Although my students could get together and compare notes and find many similarities in the things we discuss, no 2 students are taught in exactly the same way. If fact, sometimes the instructions I give to one student are the exact opposite of those I give to another. For example, I have 2 students (brother and sister) that come to lessons together. It's not ideal since their voices are very different, but it is what the family can afford. I try to discuss the general principle (fact based pedagogy) and them give them each specific instructions on what they need to work on at this point in their development towards that goal. The boy has some definite talent, but likes a pushed belty (not healthy belt) sound, plus he has had vocal nodes in the past. We're working on lightening the tone, and as part of that, I asked him to sing his song quieter. His sister is also quite talented. She studied with me last year in a group setting and has already learned a lot. She is at the point where she needs to think about more energy and singing louder to really help her find that head voice resonance. Being cautious and careful and quiet just gets her into trouble. I don't usually like to give instructions regarding volume, but like her brother, she responds well to that, so I have asked her to sing louder, monitoring for tension and pain (which would be signs that she is too loud or creating the volume the wrong way).
My only critique of What Every Singer Needs to Know About the Body is that fact that some of the information is presented as "the one and only right way". I love this book. I think that understanding how the body functions can help us greatly in creating freer and more beautiful tone. I'm a science nerd and find learning about anatomy fascinating. But, some of my students will not respond well to what they perceive as overly technical information and might respond better to imagery, or other techniques. I think that if I know this information, I can use it to better help my students in whatever way they learn best.
During the course of the conference, several references were made to Scott McCoy's term "fact based pedagogy". In a masterclass, Stephen King said something to the effect of "the student is the method" meaning that our pedagogy needs to be specific to the technical needs (and I will add learning styles) of the student we are working with at that moment; there is no "One size fits all". I also loved the bodymapping sessions with Kurt-Alexander Zeller and bought the book What Every Singer Needs To Know About the Body.
It is these 3 ideas that I want to explore together in this post: fact based pedagogy, the singer is the method, and bodymapping, specifically as it is approached in the book listed above.
First, let me start by saying that "the student is the method" has been my approach for a very long time. All though some of my teachers were "one size fits all" teachers, as an accompanist I had the opportunity to play in many studios and learned from that experience that there were multiple valid approaches (and some crazy ones) to working with any issue or student.
I've also learned that some of the worst instructions I ever received, that totally messed up my singing, can actually help some students in some situations. I'll explain more later as I discuss the "vocal myths" presented in the bodymapping book.
Although my students could get together and compare notes and find many similarities in the things we discuss, no 2 students are taught in exactly the same way. If fact, sometimes the instructions I give to one student are the exact opposite of those I give to another. For example, I have 2 students (brother and sister) that come to lessons together. It's not ideal since their voices are very different, but it is what the family can afford. I try to discuss the general principle (fact based pedagogy) and them give them each specific instructions on what they need to work on at this point in their development towards that goal. The boy has some definite talent, but likes a pushed belty (not healthy belt) sound, plus he has had vocal nodes in the past. We're working on lightening the tone, and as part of that, I asked him to sing his song quieter. His sister is also quite talented. She studied with me last year in a group setting and has already learned a lot. She is at the point where she needs to think about more energy and singing louder to really help her find that head voice resonance. Being cautious and careful and quiet just gets her into trouble. I don't usually like to give instructions regarding volume, but like her brother, she responds well to that, so I have asked her to sing louder, monitoring for tension and pain (which would be signs that she is too loud or creating the volume the wrong way).
My only critique of What Every Singer Needs to Know About the Body is that fact that some of the information is presented as "the one and only right way". I love this book. I think that understanding how the body functions can help us greatly in creating freer and more beautiful tone. I'm a science nerd and find learning about anatomy fascinating. But, some of my students will not respond well to what they perceive as overly technical information and might respond better to imagery, or other techniques. I think that if I know this information, I can use it to better help my students in whatever way they learn best.
I love MaryJean Allen's chapter "The Core of the Body and the Six Places of Balance". I do believe that understanding this will eliminate the need for some of what she calls "posture myths". But, I also understand where these come from. I think the danger is when they are taken to extremes. Here are her myths (in bold) and my responses (in italics):
- Stand up "straight" as if the spine were a straight, solid broomstick. I actually agree that this is a myth we need to get rid of and I have found no situation yet where this has been helpful.
- Lift the sternum high. Again, proper alignment and understanding of breathing will eliminate the need for this, but when the sterum seems to approach the belly button and move 6 inches into the body, sometimes the easiest thing to say is to lift the sternum. Yes, some students will take it too far and arch the back and tighten muscles. The problems she presents with this myth are, I believe, a case of a student taking a good thing too far.
- Roll the shoulders back and/or hold them down. If a student's shoulders are hunched forward, don't we need some feeling of moving back in order to bring them into alignmen?. Again, this is a good thing taken too far, and then taught as "the one and only right way" by teachers that don't understand the principle behind it.
- Tuck the pelvis under. Maybe I don't need to do comments on every myth, since most of the comments will be the same or very similar. I tend to lock my knees and end up in butt out position. Tucking the pelvis reminds me of alignment, but if taken too far, will actually pull me out of alignment in the other direction.
So here's my take on the last 3 items: I believe that bodymapping (and fact based pedagody) is the way to go and will give the best results in the long term. However, it takes awhile to explore and figure out your map. Teachers use these as quick fixes; some of them understand the alignment principles behind them and some don't. Students that don't understand the principle learn these "rules" and think that that is the way it should be and teach it, without checking for how these can cause other problems in addition to fixing the first problem.
I have great respect for school choral directors and would not want their jobs for all the money in the world. However, some of these choir directors and other voice teachers take a few years of lessons and believe they are qualified to teach vocal technique when really they are just repeating "rules" someone else told them without truly understanding the principles. It is these teachers that create voices with problems. It is these teachers that we need to be educating. At the conference, Scott McCoy spoke of the recent change in the NATS membership application process eliminating the requirement for letters of recommendation. One of the reasons for this change is that there are a lot of teachers in the world; we can exclude those that we don't think are good enough, or we can bring them into the fold and teach them to be better teachers.
The next errors/myths sections is in Melissa Malde's chapter "The Singer's Breath". Again, the information presented here is very clear. It helped me to more fully understand some aspects of breathing.
Breathing Errors
- Tanking up. Taking in more breath than you need for the phrase is very common in singers and leads to all sorts of unnecessary tension...Only take in the breath you need. Use all the breath you take in. My argument here is that since I work with mostly young beginning students, most of them really do not take in enough breath. Again, we need to have the students monitor for tension and we need to be watching them to see if they are overdoing it. I believe that the statement "Use all the breath you take in" can also be taken to extremes by students. I have students that sing through 3 or 4 rests (or countless punctuation marks) because they still have breath and don't need to breathe yet. I also have students that think you need to push out that extra air with a puff before you can breath again, creating a coughing noise at the end of each phrase. It's about balance.
- Keeping your ribs out during exhalation. Yes, I agree that we cannot keep the ribs completely out all the time, but I do think that trying to helps train the muscles that help us regulate the breath flow. (Again, check that you're not creating extra tension.). To put it really simply, I believe breath support is the "stay big" muscles saying no to the "collapse in immediately" muscles. Maybe this works better as imagery than as how the body works in fact.
- The diaphragm is perpendicular to the floor. Totally agree here. This is a factual error! I can't begin to tell you all the strange stories I hear about the diaphragm. I would bet that 90% or more of the new students I get know (from a former teacher, choir director, friend, etc.) that you need to use the diaphragm when you sing. I'm not sure I've ever had a student that knew what that meant though. OK, a few thought they knew, but they clearly had no idea where it was or what it does.
- The ribs are immovable. Again, I totally agree that this is an error. I'm glad this one was in the book for two reasons: first, I need to watch for students who believe this, and second, although I knew that the ribs do move, I learned that there is far more mobility available than I had believed.
- Pushing out with the abdominals will bring about inhalation. OK, yes, I am agreeing again and maybe I have fewer arguments with the authors than I thought. This is a big error. Looking like Santa Claus has nothing to do with how much breath you are taking in. (On a side note, some students actually shift their weight forward at the hips to look like the abdominal region is enlarging, thus doing improper breathing and messing with alignment.) I think this is a misconception that comes about in choir (sorry to pick on the choir directors again). In a private lesson, we can check other things to make sure that a good breath is occuring. In choir, you may have 90 or more 9th graders that you are trying to teach about breathing. There is no way that you can make sure that every single one of them has a correct understanding of the principle.
Once again, here is my positition: Use whatever works for that student at that moment (imagery, technical information, imitation, etc.), while at the same time, making sure that the students understands what is actually physically happening (Ask them what changes physically when they think of that image or imitate that sound?). They also need to understand that today's imagery works for where the voice is today and if taken to an extreme (focused on exclusively while ignoring other issues) can cause problems in the opposite direction.
I appreciate Malde explaining the common misconceptions that occur with some types of breathing imagery. It gives the teacher things to watch for. Buy the book and read it. However, I think the thing that bothered me was that she seemed to imply (and maybe it's just the way I read it) that these kinds of things will mess up all singers for these reasons. It's seems to be another "One size fits all" or in this case "One size fits none." I don't like absolutes. Black and white keeps us from exploring and finding what will help each individual at the point they are in their journey.
So here is her list:
- Belly breathing
- Drinking in the breath or sipping breath through a straw
- Column of air
- Breathing down to your toes
- Filling an inner tube around your waist
- Filling up from the bottom
- Suprise breath
- Breathe through your belly button
- Back breathing.
Malde's chapter, "Resonating the voice" is awesome. As a 40 year old singer and voice teacher, I was ready for the details of this chapter. I'm not sure how my baby high school beginner singers would respond to the information. I think that for young voices, often imagery and paying attention to sensations that occur with correct resonance is the best approach in this area. I do love what she has to say about the buccinator and masseter muscles and have had students do some of the exercises to become aware of these and release the tension. She explores 6 resonance images and their pitfalls. Again, these things may work for some people and may cause misintepretations and tension issues for others. The 6 images she lists are:
- Lofting a parachute in the back of the throat
- Feeling as if you could swallow a grapefruit
- Holding an egg at the back of the your mouth
- Placement in the mask
- Imagine a golf ball held by your upper and lower molars
- Lifing the checkbones
Second thought: In Zeller's chapter on physical expression, he addresses lifting the cheeks and eyebrows as resonance helpers in more detail, basically telling you that you are wasting time and energy because none of those muscles in any way affect the resonance. But...(here I go again) those images help some students. I can't tell you the exact physical mechanism by which it works, but sometimes it does. My theory is that by thinking of lifting the cheeks and the eyebrows, other body parts go along for the ride. I sometimes have my students open a slinky vertically while singing. That hand doing the lifting is not directly connected to the soft palate, but that motion does help to keep the soft palate lifted. Our brains are powerful tools. Asking for lift from any part of the body is bound to influence others as well. On the positive side, I whole-heartedly agree with Zeller that engaging cheek and forehead muscles for technical purposes can make you look really funny. Perhaps these should be used as tools to help us find what the resonance feels like and then when we know what it is, we can let those muscles go back to their primary function which should be expressiveness.
One final thing from the book and then I'll bring this to a close. In the appendix is a fabulous section by Barbara Conable on Performance Anxiety. Only once did she slam a technique that I occassionally use, and to be honest, on a certain level I agree with her, but for my baby beginners, it is a first step that gets them to be brave enough to make sounds in their voice lessons. Overall, I love her ideas and she ends the section with a list of tips for eliminating performance anxiety. The thing that I love is that everything is so positive. We can do so much for our students by creating safe places for them to experiment and grow and by giving them feedback in a positive way. People respond better when we are building them up. Solo and Ensemble Contest always worries me. We try to get judges we know and that we know work well with kids, but sometimes we bring in people with great reputations, but that we don't know personally. This past year we had a judge that gave sound technical advice on the things the students needed to work on, but several students, including a few of our "stars", came back to the homeroom feeling like failures because the judge had not said one positive thing to them. They got great scores, but there were several hours of torment as we waited for those scores because the students had not had a positive experience in the room.
So to wrap it up, here is WHAT I BELIEVE:
1. There is no "one right way." We need to find what works for each student that comes into our studio. The method we teach them is based on what they want to do and what they need to change to get there.
2. Teachers need a HUGE bag of tricks. If we truly want to approach each student as an individual, we can't just teach them the way our teachers taught us, and her teacher taught her, and her teacher taught her, etc. My student's issues are not all the same issues I dealt with. My issues were not the same as those my teachers had to overcome. If a former "swallower" teaches a student who is already peeling paint to bring the sound more forward, we end up in a really scary place.
3. Our bag of tricks absolutely must include a clear knowledge of how the body and the brain actually work. We might not teach all those details to every student, but we need to know what should be happening in order choose the correct tools from our bag of tricks.
4. Teachers can never stop learning. The minute you know it all, when you stop your own explorations, you close the door on things that might be just what the next student to walk into your studio needs.
5. We need to reach out to other teachers, not to convert them to our ways, but to learn from them. If they are willing to talk and share, chances are that even though we don't agree on everything, they just might know something that will make you a better teacher. NATS is just one way to connect.
6. I build people. Singing is fun. Singing well is thrilling. Yes, our students are paying us to help them be better singers, but they will get there a lot faster if we don't spend all of every lesson tearing them down. I've taught lots of lessons where I have been frustrated by a student's lack of preparation, their apathy, their resistance, and sometimes even by the seemingly insurmountable challenges they will have to overcome in order to ever sing "well". But I don't think I've ever taught a lesson where there truly was nothing that I could compliment the student on. My students will tell you that I'm tough, but I always try to point out the progress they are making and make sure that they leave feeling empowered rather than broken. That is why I chose not to pursue teaching in a music major program. I don't want to tell people that they aren't good enough. I don't build voices; I reveal them. I do build people.
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