“teach to teach - a common path"
Instrumental teachers and their pupils, learning together
The art of teaching requires knowledge and skills: It entails the art of “intuitive understanding” and one's own continuing education.
In our “Dispotraining”, the laws of music, the instrument and the body are the most important guidelines and must always be respected.
Because the teacher bears great responsibilities, the progress of the instruction must be well documented. An organized teaching structure and the ability to maintain control are essential.
The goals of the instruction must be clearly defined between parents, student(s) and teacher. It is the teacher's obligation to encourage the student instrumentally and musically, as well as to support him or her in the development of the personality.
With the help of our method, the instructor and the student experiment together to discover solutions, thus building a common language.
Inventiveness sustains the fascination of learning, and maintains the excitement of the lessons!
I. In order to establish common grounds, the following needs to be known about bothteacher and student
|Personal (non-musical) experiences as a student||Age|
|Personal & Professional defining moments as a student||Grade in school|
|Professional experience (teaching and/or performing)||Hobbies/Interests|
|Why THIS instrument?||Why THIS instrument or why Music at all?|
|Teaching experience / Teaching motivation||Wishes & Expectations|
|Stage fright/performance anxiety||Stage fright/performance anxiety|
|Relationship to the student||Relationship to the teacher|
|Use of Humor while teaching|
II. The following should be emphasized and developed, amongst others
|One’s own further education||Motivation|
|Identifying the types of students||Listening to different types of music|
|How to end a teaching relationship||Wishes, Expectations and future plans|
III. Following conditions should exist to ensure a fruitful atmosphere
- Relaxed timing
- Trust between teacher and student
- Corporeal “legroom” and mental breathing space
IV. Components needed for a successful lesson
- Active listening by the teacher
- Giving the student time to play
- Enhancing the student’s creative freedom by respecting their own preferences
- Suitable balance between verbal explanations and instrumental demonstrations by the teacher
- Praise and critique
- Recognizing mistakes as helpers and accepting their value
- "one point only"
- Timing: adequate time splitting during the lesson
- Coaching of chamber music & orchestral literature
- Technical and musical literature
- Contact with the parents
- Didactic material
- Playing together
- Piano accompaniment
V. Principles that should be addressed within the lessons include
- "from the unknown to the known"
- Stream of consciousness: "experiencing - recognizing - naming"
- Stimulating the imagination and making associations
- Conjoining with the familiar
- Musical expression and instrumental technique as a whole
- If you know “why”, you’ll know “how”
- Training specific muscles
- Singing & conducting
- Discovering difficulties and mistakes
- Efficiency of practice methods
- Ear training: intonation, articulation, metric values, rhythm, harmony and melody
- Musical “Architecture”: style, form, structure
- Training for auditions and public performances
VI. Where to put the emphasis in each lesson
- Differentiating between short-term goals and long-term goals
- Technique and Etudes
- Chamber music
- Orchestral music and parts
- University/College and further career in music or music education