Just about any time you talk to someone about music—no matter how you talk about it—you'll learn something. It's hard not to. But there are certain ways of approaching learning that will really optimize your time, energy, and enjoyment. And that's what this
page is about. You'll hear me espouse these principles in our conversations, and I've written them down here for anyone to refer to. Ultimately, it's the teacher's job to know these guidelines and to keep things on track. But there's also an element of teamwork, because there are two important things that the student can do that will really help the team. One is to trust enough to let the mentor drive. The second is to be comfortable enough to give feedback on how you feel. Are we going too fast? Too slow? Do you need a break? Do you need that concept explained again? Or again? Or in a different way? Frequent input and feedback, on both sides, will keep our conversation of learning moving forward at a happy pace. Here are the principles.
Introduce easy things first; more difficult things later. A "thing" here could be an idea, could be practice.
Introduce a new idea with an instance of it. Become comfortable with an example or two (or three) of the thing
and then define the general concept. The particular before the general; the concrete before the abstract.
When illustrating an idea, focus first on the cases that are common and plentiful. Then, later, touch on the uncommon and rare cases.
Interestingly, the common cases—the ones you'll encounter most often—are typically easy to explain and understand. So you get
good return on your time invested in learning about them. It's the uncommon cases—the ones you'll rarely see—that, ironically,
need several times more effort to understand. The edge cases can feel like hard-won ground. But this is just an example of the 80/20 rule
(the Pareto principle) in action; we'll see another example of that same rule when we talk about the different approaches to reading music.
Show things that are elements. An element is something that cannot be further broken down. Or, it's a thing whose parts you already know
and are familiar with. An element is
that which you are now ready to learn.
Sometimes a single element leads to another single element. For example, natural notes lead to altered notes. Other times, a number of elements
combine into compound things. For example, notes and intervals combine into chords. You build on what you already know. You understand the elements
before the compounds. Each piece of understanding you gain readies you for the next.
Introduce a new idea with a clear focus. Give the idea due time and attention. One thing at a time. This also applies to practice: make sure
you can tap out the rhythm written on the staff before you try to combine the rhythm with the notes.
Let the student experience an idea or concept. Let them feel it and internalize it in the real world before moving on to show how the idea is
written down on paper as a sign or symbol. So, first hear different notes and their effect on the ear. Then see the piano keys in action making
those sounds. And finally see how those notes are represented in writing so that they can be recorded and later recognized. Similarly with rhythm,
and counting: experience what rhythm feels like, and how to count it out and tap along with it, before showing how it is notated. Understanding a
thing before you learn its written representation.
Visuals convey a lot of information and meaning, so use them to tell an evocative story.
Explain ideas with analogies the student already understands. Better yet, ask questions to get the student thinking and in that way bring to
their attention an understanding that they already have. This way the student is more than passive; he/she is an active agent in their own learning process.
Music is in some ways complex and multi-dimensional, so find ways of looking at an idea from many different perspectives to get a deep and rounded grasp of it.
It's one thing to be told a concept, and to nod, and to believe
that you understand it and you'll remember it. But the best way to
test and reinforce your comprehension and retention is to explain
the concept to someone else. That's why, in addition to frequent fun
little pop quizzes, I'll sometimes give you the opportunity to
explain things to me in your own terms. Sometimes there's no right
or wrong answer; I just want to invite you to stretch out with your
thought processes.
John Curwen, and his daughter-in-law Annie Curwen
Some of the guidelines above are inspired by the teaching principles of the famous 19th century music educator John Curwen
(who was himself strongly influenced by Pestalozzi). Where I've echoed Curwen's sentiments, I've re-worded and clarified
them for a modern audience, and made them more personal.
John Curwen did not himself receive formal musical training, nor did he have an especially gifted ear or voice. But he
taught himself to read music. And he struggled, as most of us do. And that experience made him a better teacher, because
he was sensitive to how beginners feel, to the stages they go through as they learn, and how they need to be treated and
informed in order for learning to be is effective and enjoyable. Curwen taught children to sing from musical notation, and
he did so with a care and attention that was unheard-of at the time.
Annie Jessy Curwen—who married John Curwen's eldest son—wrote "Mrs. Curwen's Pianoforte Method
(The Child Pianist)" and also a Teachers' Guide to that same book.
The Teachers' Guide can be found here.
