We’ve probably spoken on the phone, and had a chance to get acquainted. If not, please feel free to call me at 475-8047, so you can get an idea of what I’m like, and find out if I have any openings.
If your child does not already have access to a cello, probably the first place you want to begin is The Violin Shop, at 1641 S. 17th (two blocks south of “A” Street – 474-1640). The people there are very helpful and knowledgeable, and will know how to find an instrument that’s the right size for your child. I also use the Suzuki literature (even with “traditional” students), and I can give you an idea of which book we will be using. The Suzuki CD is also extremely helpful for all students. Both of these items can be purchased at The Violin Shop. Dietz Music also has instruments, music, and CD’s, but they’re not as likely to have the smaller-sized instruments.
If your child is 5th grade or older, or has been playing the cello for a while, you may want to go with the “traditional” approach, which means that he or she comes to the lesson once a week and practices alone at home. Your involvement as a parent can be as much or as little as you and your child agree upon, but usually by this age, students are reading music and practicing on their own. I always welcome parents to come to the lesson, and sometimes they take notes for their child, which frees me to teach instead of write. But parents of older students often drop their child off, and that’s fine, too. I do suggest that even “traditional” students listen to the companion CD daily.
If your child is younger than 5th grade, I wholeheartedly recommend the Suzuki approach. Children younger than ten usually have difficulty practicing alone effectively, so parent involvement is very important. It’s also a great activity for the two of you to have in common.
If you’re wondering what exactly the Suzuki approach is, here is a nutshell definition:
1. The parent is involved in the learning process. You come to every lesson, you listen to the CD with your child, and you are the home teacher (another way of saying, you practice with your child at home). Don’t be intimidated by this; I teach you what to do at the studio lesson. Our relationship is a triangle: child, parent, teacher. Every leg is equally important.
2. Listening to the CD is an important part of the learning process. Your child listens every day to a CD of the pieces he is learning. I think this is even more important than daily practice. I don’t know the actual physiological reasons that repeated listening works, but I know that it does. I have proven it in my own playing.
3. When children are very young or just beginning the instrument, I do focus only on learning the technique of playing. This means that for a little while, they play by ear. This is an excellent and valuable skill. But before long, I begin to teach fundamental music-reading skills. So, my students can both play by ear and read music.
4. Daily practice is, as you’ve probably guessed, very important in learning to play a musical instrument (or play soccer, or give a speech, or just about anything else in life). I do ask my students to practice every day, even if a few minutes is all they can do (let your child’s individual ability set the pace and length of time you practice). A little every day is much better than a lot only one day a week. Dr. Suzuki’s famous quote is, “only practice on the days you eat,” but I think one day off a week is okay.
5. Repetition is how children learn. I use the goofy expression, “wearing grooves in your brain.” If you get tired of listening to the CD over and over, or practicing the same piece or group of notes repeatedly, be assured your child doesn’t tire as easily as adults do. She will do it willingly if you don’t let on that it’s boring. (Never say that word around your child – you’ll lose his interest for sure!) Make it fun, changing the way you approach problems, and practice won’t be a chore.
6. Make it fun? Yes! That’s the whole point. My goal is never to produce virtuoso cellists; it’s to give the gift of a love of music. Children can’t love music if it’s associated with striving for perfection or family tension. (Did you ever fight with your parents over practicing? I did, and it wasn’t fun!) I like to make practicing a game whenever possible, and I use all sorts of little rewards to make it challenging. I can give you ideas, but I bet you have a lot of creative ideas yourself.
7. We always want to be as encouraging and positive as possible in our practice. I know, we all get tired, but affirmation will get you much further than criticism. And another little “rule” of mine is, “one thing at a time.” We focus on one skill while playing, rather than trying to get it all perfect. Eventually, all the things we focus on one at a time come together in beautiful playing.
8. Group lessons and recitals are part of the Suzuki experience. I will talk with you about getting your child into a group that’s appropriate for her age and level of playing. Groups give children a social setting for their music, and sometimes years-long friendships. We play lots of games in group, and we learn to play together and read music. Groups are free, and are approximately every other week. Recitals and other playing opportunities happen several times a year, and give children confidence and group playing skills. My recitals range from formal performances to informal parties.