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Renowned educator, writer and clarinetist Paul Harris, author of innumerable books on sight-reading, music theory and music teaching as well as original compositions, led a seminar based around the ideas set out in his seminal book T’he Virtuoso Teacher’ (Faber, 2012).

The book focuses on the core issues of being a teacher and the teaching process. By examining topics such as self-awareness and the importance of emotional intelligence, getting the best out of pupils, dealing with challenging pupils, asking the right questions and creating a master-plan taking the stress out of learning teaching for the right reasons, Paul Harris offers an inspirational and supportive read for all music teachers, encouraging everyone to consider themselves in a new and uplifted light. The book formed the basis of Paul’s presentation, with plenty of opportunities for discussion during the breaks and in a Q&A session at the end of the seminar. I read Paul’s book when it was first published and found it very empowering, yet much of what he suggests is both simple and easy to put into practice in the teaching environment.

These are my notes taken during the seminar; by no means comprehensive, I hope they will provide a useful overview of Paul’s approach and the philosophy of the Virtuoso Teacher.

Definition of a ‘Virtuoso Teacher’

  • Not someone who teaches virtuosi
  • Nor a virtuoso player themselves (as Paul said, virtuoso players may be fine instrumentalists, but are not necessarily the best teachers)
  • A virtuoso teacher takes teaching to a virtuoso level through being collaborative, imaginative, engaging, non-judgmental and energetic.

Just as a virtuoso performer has qualities such as a sense of communication, secure technique, and a sense of artistry so the virtuoso teacher has the same qualities. But instead of playing to an audience, the virtuoso teacher works with students.

The virtuoso teacher has a heightened awareness of what is happening, is mindful, has a profound understanding of the instrument, technique, musicality and a deep knowledge of our pupils. The virtuoso teacher encourages pupils to reach their own infinite potential.

WHAT WE DO

The special things….

  • Teach music for its own sake
  • Guide pupils
  • Show possibilities
  • Open minds
  • Enable pupils to become independent learners and teach themselves

The word “teach” comes from the Old English world tæcan (“tee-shan”) meaning to “show”, or “point out”, but not “tell”.

The virtuoso teacher does more than teaching the instrument and pieces: the virtuoso teacher encourage pupils to really know music and enable all pupils to achieve, taking into account the needs and desires of all our pupils.

For the virtuoso teacher the process is more important than the outcome (i.e. exam or competition results, assessments or performances, all of which are stressful situations and which lose the enjoyment of “now”). For the pupil, learning to play an instrument or sing should be a happy experience. Unhappy or stressed students don’t learn (physiologically, the brain stops releasing hormones which enable us to take in information when we are stressed). We develop our pupils’ self-responsibility and turn mistakes into opportunities. We share our love of music and encourage our students to develop this love too. We make our students confident and independent.

Personal qualities of a Virtuoso Teacher

  • An excellent communicator
  • Certain, but never absolutely sure
  • Open-minded
  • Adaptable and flexible
  • Still learning
  • Focused (on the pupil)
  • A good role model
  • Good-humoured
  • Patient
  • Proactive
  • Innovative
  • Having good judgment, but never judgmental
  • Kind and caring
  • Reflective

How we teach

The “process” of the lesson

  • Warming up (e.g. stretches away from the instrument or use an aspect of the first piece as a warm up exercise)
  • Find ingredients and connections within the piece
  • Offer achievable, well-explained instructions (done well, this is unlikely to lead to mistakes, or will reduce mistakes)
  • Give well-expressed, clear feedback
  • Ensure the lesson is energising and always moving forward

When giving feedback, first wait and then notice the way the pupil reacts to the feedback. Positive feedback motivates and allows us to be effective because it empowers the pupil. We need to nurture, not control. As a result, pupils are

  • Confident
  • Happy
  • Enthusiastic
  • Motivated
  • In sum, the “virtuoso pupil” knows how to learn.

Dispelling the “myth of difficult”

  • Learning how to achieve
  • Removing obstacles
  • Encourage through a thorough and meticulous approach
  • The quality of our students’ understanding is better than the quantity of their work.

High-satisfaction teaching allows the lesson to flow and for pupils to be musical. They will also make fewer mistakes, feel less stress, feel less constrained by structure, which allows them to achieve. Lessons become positive with a spirit of discovery.

  • Simultaneous learning and simultaneous practising:
  • Teaching proactively
  • Making connections using the “ingredients” of the piece
  • Positive
  • Non-judgmental

Pupils need to practise in a way which matches this

  • Integration – refer to practising during the lesson
  • Representation – make practising interesting and engaging
  • Connections – ask how the practising went in the intervening week between lessons

This enables pupils to see how lessons and practising join up.

 

Teaching a new piece using the Simultaneous Learning process

Know the ingredients of the piece:

  • Key
  • Rhythm
  • Pulse
  • Time signature
  • Dynamics
  • Character

Don’t overload the pupil with information but know how much the pupil can take in.

Allow the lesson to unfold around the ingredients using various element, e.g. improvisation based on a rhythm or short motif within the piece.

Use Q&A and demonstration. Talk about practising as you go along. Practising should be fun, engaging and collaborative.

  • Don’t hurry
  • Make connections
  • Empower the student
  • Check the student has understood all the instructions given
  • Teach the right things at the right time
  • Be imaginative
  • Encourage flow
  • Collaboration
  • Encourage students to know their music
  • Encourage students to become independent

 

WHO WE TEACH

We need to get to know our pupils (but never interrogate them!)

  • Interests
  • Prior learning/knowledge
  • Vocabulary (important – so that we can communicate with them at the right level)
  • Preferred learning style, i.e. visual, auditory or kinesthetic
  • Gender difference
  • Relative speed of learning
  • Level of motivation
  • Expectations (pupil’s and parents’)
  • Psychomotor skills (e.g. finger dexterity)
  • SEN
  • R/L brain development
  • Experience and background
  • Maturity
  • Parental involvement

Having this information allows us to personalize our teaching to be more effective.

 

Managing expectations

We live up and down to expectations (the ‘Pygmalion Effect’)

“As the teacher believes the student to be, so the student becomes” (Rosenthal & Jacobson)

 

  • We should have high but appropriate expectations and the student will live up to them.
  • We have different expectations for different students
  • Don’t base expectations on pre-determined criteria (e.g. exam results)
  • Don’t compare students, especially negatively
  • Discourage pupils from comparing themselves to their friends/peers – explain to a Grade 1 student that the Grade 7 student is not “better”, just “more advanced”
  • Focus on achievement rather than attainment: pupils can achieve continuously
  • Encourage self-comparison: “How am I doing?”
  • Encourage students to hear friends playing in a positive context: peer support is very important.
  • Celebrate every student’s strengths
  • Have positive and appropriate expectations
  • Create a positive teaching environment
  • Labels are not helpful – there are no “bad” pupils! (but there are plenty of bad teachers!)
  • All pupils are able – different, but able

 

Giving praise

It needs to be appropriate and appreciative. Judgmental praise causes dependency and builds up an ego which can produce anxiety

 

Examples of appreciative praise:

“I enjoyed that”

“that was really accurate/musical”

“That practise has really made a difference”

 

This allows pupils to draw their own conclusions about their playing

 

Praise what they are doing or their effort, not the ego or talent.

 

Praise followed by criticism is not helpful.

 

Sincere praise goes a long way and creates a sense of trust.

 

 

Using questions in lessons

Good questioning is very valuable and can be used to

  • Check knowledge and understanding
  • Encourage understanding
  • Encourage recall of facts and information
  • Diagnose difficulties and involve the pupil in the “cure” (e.g. tension, problematic fingering scheme etc)

 

Questions also encourage students to think, engage, apply and reflect. Use open-ended, thought-provoking questions, e.g. “What do you like about this piece?”

 

 

Getting the best out of our pupils

 

  • The way we are and how we respond to our pupils
  • The way we manage expectations (of pupils and parents)
  • The care we invest in teaching methods
  • The level of positivity and love of our subject
  • Ensuring pupils understand what they are doing

 

 

In conclusion

 

Our values and beliefs colour the way we are and drive our thinking and teaching. We should be certain, but never absolutely certain, and we should always look outwards.

 

The present

  • The Power of Now
  • Living in the moment
  • Grasp opportunities and run with them, while always keeping an eye on the future
  • Using aspects such as applied psychology and physiology (e.g. understanding the reasons for warming up before playing), and using technology to enhance our teaching (e.g. internet, apps).

Teaching now

  • Teach laterally and holistically
  • Be proactive
  • Take care of our personal accountability
  • Make connections
  • Understand and appreciate what our pupils need
  • Use wisdom – how do we use our knowledge? We guide our pupils to enable them to progress.
  • Be honest (i.e. honest evaluation of our students, and in our dealings with parents)
  • Have courage – take risks and be prepared to tackle issues
  • Give our students our unconditional support

The Virtuoso Teacher wants to create well-balanced musicians who are driven by a love of music and a desire to sustain this great art.

 

Never forgot – teaching is A PROFESSION!

More about Paul Harris and his publications and other resources here

 

 

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Who or what inspired you to take up composing, and pursue a career in music?

I fear my answer may sound pretentious . . . When I was 12 years old there was a single moment when, while out walking, the idea came to me to be a composer and it was an idea which for the first time seemed to make sense of my whole life. It was quite unusual in that it wasn’t an obvious choice – I do not come from a particularly musical background

Who or what were the most significant influences on your musical life and career as a composer?

I see it as much as a vocation as a career. There are very many influences – it’s a life’s work. Anything that helps to reconnect new music with an intelligent audience has been important. I also love the simplicity and rigour of minimalism. Working with other artistic disciplines, especially but not exclusively in opera, has also been very formative

What have been the greatest challenges of your career so far?

Again several. Being true to myself; understanding that recognition needs to come from within rather than without; and seeking a radical artistic path despite composing in a non-modernist idiom.

What are the special challenges/pleasures of working on a commissioned piece?

I think the obvious ones either way. It can be helpful to have a structure and a deadline. Even for the best organised composer creative work can at times be chaotic as well as totally absorbing. Similarly the timing of commissions can be a help or a further challenge.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

It’s a commonplace of course but the best collaborations are those in which all those involved have a part in the decision making and there’s a huge range within music from individual performers who commission specific works to orchestra members who have little or no choice over what they play. At its best collaboration – the  highest sum of the best parts – can be the pinnacle of artistic work

Which works are you most proud of?

Well, I have put on ice much of my music before 1990. However, I am not one of those composers who doesn’t like to listen to his own music and I am proud of so many of my works since then. A breakthrough piece for me was Paradise Haunts (1994) violin and piano, later (1999) violin and orchestra. The short piano piece Endless Song (1999) is probably my most played work and there is a set of variations for Harp and Strings, Mapping Wales, based on it.  I’m also proud of the song cycle In Time of Daffodils (2006) and my last two operas –  A Chair in Love (2005) and Under Milk Wood (2014). Most composers have their ‘ugly duckling’ work. Mine is Cello Symphony (2004) – only one performance to date but there is happily a recording. (Thank you for this promotional opportunity, I think I’ve made the most of it!)

Who are your favourite musicians/composers?

Bach, Stravinsky, Elgar and Arvo Part are among them and I love listening to new pieces that I don’t know! I have the greatest admiration for new generation of young British performers also. They are really extraordinarily good. It is an odd realisation that the fees for classical musicians have decreased markedly as the standard of playing has increased.

What is your most memorable concert experience?

There have been some very special concerts at the Vale of Glamorgan Festival. The 1996 concert at Llandaff Cathedral with the BBC National Orchestra of Wales and the Estonian Philharmonic Chamber Choir performing Part, Vasks and Kutavicius stands out. Hearing the Kutavicius work – The Last Pagan Rites – prior to that at a cathedral in Vilnius following a very traumatic travel day was also memorable. Finally the premiere of Under Milk Wood: an Opera on April 3rd 2014 is still fresh in my memory

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I think, excellence. As few compromises as possible. Never the middle ground, always the high ground. And spend as little time as possible teaching, administering, examining – crucial, wonderful skills though those are – and as much time as possible be it on composing or playing.

John Metcalf is a leading Welsh composer who has composed major works in many musical forms. While his cultural roots are in the heart of Wales, his work has a broad international following and is represented in a growing catalogue of recordings.

In 2009 he received one of four inaugural Creative Wales Ambassador Awards from the Arts Council of Wales. The awards recognise artists’ achievements, their standing in the arts in Wales and their capacity to push the boundaries of their art inherently as form and as a point of contact with contemporary Wales.

2010 highlights included the release in September by Signum Records of the ‘Paths of Song’ CD, containing Septet, Llwybrau Cân (Paths of Song), Castell Dolbadarn (Dolbadarn Castle) and Mapping Wales and a recording of his six piano palindrome Never Odd or Even in a multi-track version by Dutch pianist Jeroen van Veen on Brilliant Classics 9171/7. On October 29th his new saxophone quartet On Song was premiered by the Lunar Saxophone Quartet at the Riverfront Centre, Newport. Several performances followed and the work was also released on Signum Records SIGCD233.

In Her Majesty the Queen’s 2012 New Years Honours List John was awarded an MBE for services to music.

www.johnmetcalf.co.uk

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© Neda Navaee

I seldom select concerts to review based on performer. An interesting programme is usually what will pique my interest, and this was certainly true when browsing the Wigmore’s spring season of concerts: it is unusual to find Ligeti and Messiaen in the same programme. I didn’t know the performer and was unaware at the time of booking the concert that he was first prize and gold medal winner of the prestigious Arthur Rubinstein International Piano Master Competition.

Winners of competitions are often paraded before audiences with the promise of greatness. Generally young performers poised on the brink of an international career, too many may offer a bland synthesis of music, technically polished but lacking in insight or maturity. Not so Antonii Baryshevskyi, a young pianist from Kiev, whose impressive Wigmore Hall debut combined pristine technical facility and consummate musicality in a challenging and highly varied programme.

Read my full review here

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My interest in this form of meditation was piqued when a friend talked of following a mindfulness course and employing mindfulness as a way of dealing with feelings of inadequacy as a musician and the exigencies of everyday life. I decided to explore further to see if employing some techniques drawn from mindfulness could help me, in my musical life and every day.

Basically, “mindfulness” is an awareness of yourself and your surroundings. When in a mindful state, mindless “daydreaming” is replaced by presence, and attention to the here and now. It can also refer to specific meditative processes, such as those popularized by Dr. Jon Kabat-Zinn, founding director of the University of Massachusetts Medical School Stress Reduction Clinic. Mindfulness has been shown to help people suffering from stress, anxiety and depression, including physical manifestations of stress disorders such as eczema and psoriasis, pain and ill health, and is approved by the UK Mental Health Foundation.
How I am using Mindfulness in my musical life:

Reaching a state of acceptance

I suffer from a certain lack of confidence as a musician (despite appearances to the contrary when I play and the many positive endorsements I receive from teachers, colleagues and friends). I realised that part of this stems from a habit of constantly comparing myself to others. I have resolved to stop comparing myself to others, to accept that certain repertoire just isn’t “right” for me (for whatever reason, technically or emotionally), that I don’t have to attempt pieces just because others are, and to focus on developing my own playing in repertoire that I enjoy and which interests me.

Banishing the inner critic

Alongside this sense of acceptance, I am learning to switch off the voice in my head which tells me I am “just not good enough”. I’ve realised that this voice is, in part, the manifestation of a variety of critical comments, from a music teacher at school to certain others who have hinted that I am committing some form of pianistic “hubris” by performing in public concerts or taking on works such as Beethoven’s Opus 110 or Schubert’s Sonata in A D959 (my current preoccupation). I now try to draw confidence from the positive and supportive comments from colleagues, diploma adjudicators, mentors and friends.

Mindful practising

Mindfulness enables us to practise thoughtfully, with concentration, commitment, improved focus and care. Too often I come across students (and others) who simply “type” their pieces, processing notes with little care or thought and revealing that their practising has been repetitive and mindless. Repetitive practise is important, for sure, but it should be both thoughtful and repetitive – and each repetition should be considered. Taking notice of what one is playing – each phrase, dynamic nuance, subtleties of touch, expression, articulation – will result in more efficient and rewarding practise, leading to vibrant and authoritative playing.

It also enables us to become more aware of our physical state when playing, to check that the wrists are supple and mobile, arms are soft, shoulders relaxed, and so forth, and to know to stop playing when the body becomes tight, sore or stressed.

On a broader level, mindfulness can make us more insightful as musicians, to connect better with our inner selves, be less self-critical, to see mistakes honestly and without fear and know how to understand and adjust them more easily, and to improve our playing and musicianship based on experience and intuition rather than self-criticsm: in essence, to better trust our musical self.

Dealing with anxiety

My main strategy for dealing with performance anxiety is knowing that the music has been practised deeply and is fully prepared, including at least three “practise” performances. In addition to this, I try to perform “in the moment”, to focus on the “now” of performing and to silence the destructive inner critic voice that wants remind one of all the slips and errors, and can stifle creativity and spontaneity in performance. After a performance, I try not to post-mortem it too closely, but to return to practising the day after with renewed interest and (hopefully) deeper insight, while looking forward to the next opportunity to perform the pieces.

Daily meditation sessions may not be for everyone (and this is not something I actively engage in) but increased awareness while engaged in music practise can help us reconnect with our instrument and our musical self, leading to improved concentration, physical awareness of the feel of the instrument under the fingers, tone control, quality of sound, expression, a vibrant dynamic palette, flow, musical insight and communication. While playing, banish the “mindless” thoughts that distract and fill the mind – “what shall I cook for dinner?”,  “did I remember to collect the dry-cleaning?” – and focus instead on observing and listening to yourself playing. Try to notice things that perhaps weren’t apparent before or which you previously took for granted, and bring meaning, value, love and life to every note and phrase you play.

(source http://www.gracebelgravia.com)