These days, Mark O'Connor
doesn’t need much introduction. The Grammy-winning violinist,
composer, and fiddler is now widely known as one of the most inventive
talents in American music. But decades ago, before the Baltimore
Sun and the St. Louis Post Dispatch labeled O'Connor
a genius, or the New York Times described his career as "one
of the most spectacular journeys in recent American music,"
a high school music teacher had a rather different assessment of
the teenage violinist's blossoming talent.
Here is how that instructor
prefaced O'Connor’s first public performance, as part of a
jazz trio playing in the school gym: "His introduction before
my peers, the faculty, as well as my family, went something like
this," O'Connor recalls in an essay published on his own website.
"'Did you bring your earplugs? We could have made a killing
at the door selling earplugs! Anyway, these guys come into my music
room every day, and I am not sure what they do in there. I even
forgot their names! I just sign them in. So I just refer to them
as the jazz trio. So here they are, the jazz trio.'"
Not long after that
humiliating introduction, O'Connor was trading violin solos with
jazz violin great Stephane Grappelli on the stage of Carnegie Hall.
But not all beginning musicians have the courage, drive, and sheer
talent to leap the high hurdle of a bad teacher. No one will ever
know how many promising players have thrown in the towel after encountering
ignorance, indifference, or abuse from the very person who was supposed
to nurture their talent.
Indeed, choosing the
right teacher may be the most difficult decision facing a beginning
string musician. It's a process full of questions: Where should
the search start? What responsibilities does the student have in
the process? And what qualities in a teacher are crucial for productive
learning?
"Regardless of
the instrument, the critical question is whether or not the teacher
wants to develop a genuine relationship with the student,"
says John McCarthy, director of the preparatory and extension divisions
at the San Francisco Conservatory of Music. "It's really a
partnership between the teacher and the student. That's more important
than methodology."
McCarthy is far from
alone in emphasizing the role of personal relationships in the teaching
process.
"The first two
words that jump into my mind, that elbow for space at the front
of the line, are kindness and patience," says Tom Heimberg,
a teacher in Northern California who currently plays viola in the
San Francisco Opera's orchestra. "I've heard too many stories
about mean and forceful teachers. I think a teacher should have
a system of approach to the instrument. But kindness and patience
are crucial."
Of course, nothing can
take all the uncertainty out of this search, especially for students
of stringed instruments, who face a growing nationwide shortage
of qualified teachers. The American String Teachers Association
(ASTA) recently reported that approximately 5,000 instructor positions
in string music education will go unfilled over the next two years.
But experienced musicians
agree that there are important steps that any aspiring student should
take.
Reflect
This is the first step,
and it may be the most important. A student must answer some hard
questions. What are your goals? What is your learning style? Would
you prefer one-on-one instruction, or might you and your limited
disposable income be more comfortable in a cheaper, group setting?
What results can you realistically hope to achieve? "One of
the most common mistakes new students make is they don't realize
the time commitment required," says Ariel Whitbeck of the Music
Teachers National Association (MTNA).
Network
Many aspiring students
start their search by picking up the Yellow Pages. While that may
be a fine way to find a plumber, locating a music teacher should
involve talking to people in the music community. If you don't already
know musicians and music students, your local music stores can help:
Many keep lists of local teachers (some will even email names to
you), and proprietors are often willing to discuss which local instructor
might best suit your needs. You should also check with the music
departments at your high school or college, or the local musicians'
union, which can be located using the website of the American Federation
of Musicians at www.afm.org.
But you don't just want
a list of names. You want references, as Heimberg points out. "You
want to find out who seems to be happy with their teacher,"
he says. "Which teacher has a recognizable track record? For
example, if someone has been teaching a long time and you start
getting lots of mixed stories—the teacher getting angry or
getting too rough—you might still want to meet the teacher,
but be more cautious."
Evaluate
Now it's time to examine
the basics, including credentials and affiliations. Is a teacher
a trained instructor, or simply a talented player? Is he or she
a member of a professional association, such as ASTA or the National
Association for Music Education (MENC), which offer their members
important connections and opportunities for continuing education?
Does the teacher specialize in a certain age range or level of playing
ability?
Which educational method(s)
does the teacher employ, and what are the ramifications for the
student? For instance, many teachers employing the Suzuki method
with young students expect a parent to play a very active role in
the teaching process.
Interview
Here's where the search
gets personal. Any reputable instructor should be willing to discuss
his or her studio polices over the phone or in person. And it's
important to shop around, according to Meg Eldridge, who teaches
violin and viola in California and also plays with several San Francisco
Bay Area symphonies. "It's kind of like looking for a car,"
Eldridge says with a laugh. "Sometimes you want to go with
the first one you see, and other times it's going to take a while.
But I would strongly recommend talking to several teachers."
Is the teacher comfortable
with what the student wants out of instruction? For instance, Eldridge
recalls taking lessons from violin purists who wanted to concentrate
on solo pieces and were openly disdainful of her orchestral work.
Another important consideration
is whether a teacher can offer students opportunities to perform
publicly. "A teacher should offer one or two recitals a year,"
says Eldridge. "It gets people to really buckle down and practice."
It also provides the valuable experience of performing in public.
Many students decide
to audition a prospective teacher by taking an introductory lesson.
That's a good way to evaluate whether their approach is right for
you, but you should expect to pay for the privilege.
Stick With It
If you've decided to
learn to play the violin, viola, cello, or bass you probably already
know that you've set yourself a daunting challenge. Still, it bears
repeating: No other instruments require as much patience before
a musician can hope to make even reasonably satisfying sounds. No
teacher, whatever his or her method or teaching ability, can give
a beginning player quick results.
"If one begins
with a teacher and is having success, any decisions about changing
should be very slow," McCarthy says. "A respectful sense
of what's realistically possible is crucial."
