I recently read an excellent article on “Teaching the Overstretched Student” in the July/August Clavier Companion. In the article, Sheila Vail and E. L. Lancaster both had good, practical advice for all teachers but I was struck by a couple of poignant points.
1. Both pedagogues emphasized the need to assess every student individually. Assessing the student included knowing their schedule, how quickly they learn, what music appeals to them, when they can practice, and whether they want to participate in auditions, contests, and recitals. Of course, teachers must then actually let this information inform their decisions with the student in terms of goals and repertoire choices.
2. I particularly liked Lancaster’s reference to Tricia Tunstall’s distinction between beginning and emerging students in her book, Note by Note: A Celebration of the Piano Lesson. The beinning student is one that leaves each lesson with more knowledge than they came. Several years later, the student becomes “emerging” as their progress is slower and more complicated. Lancaster advocates that teachers make it a point to find music that appeals to the emerging student, pointing out that while some emerging students pursue music seriously and need a challenging curriculum, others need music that is slower paced and appeals to them.
Sometimes in tight circles of music teachers, allowing the student to study for fun is often discouraged. Sadly some teachers are looked down on if all of their students are not competition bound and worthy. I appreciate that both E. L. and Sheila Vail were encouraging to teachers who have a mix of students in our studios.
3. Sheila Vail talked about taking a ‘tapas’ approach to literature for the overstretched student. Tapas are small, appetizer size plates of food, often varied in flavor and ingredients. Sets of variatons and small repertoire collections and anthologies are examples of the tapas sized approach. Lancaster further illustrates the point by saying that he only assigns 2 repertoire pieces for the overstretched student, one of which is suggested by the student (includes pop, jazz, arrangements) and one of which is chosen out of 3 choices he gives to the student. Lancaster also mentions that he tries to avoid ‘sophisticated-sounding pieces that would only appeal to educated musicians.’
In all, I found the entire article an encouraging list of ideas for teaching the overstretched student. So far, I’m happy I subscribed to the new Clavier Companion this year! If you are not a subscriber, you may want to rush to join as a regular subscription is $29.95 and right now they are offering a special introductory price of $24.95.
