Academy Syllabus for the students of Kenneth Law
Contents:
I. Teaching Philosophy
II. The Dual-Track Studio Structure
III. Lessons/Practice Requirement
A. Lessons
B. Practice Requirements
C. Misconceptions
IV. The Practice Process
A. Suggestions for practicing
V. Orchestra Music
VI. Performance Opportunities
VII. Failure to Comply
VIII. Attendance Policies
IX. Explanation of Terms
X. Practice Accessories
I.Teaching Philosophy
I believe that every child can be taught to play an instrument; the degree of proficiency and artistry to which a student aspires, however, varies. The child’s natural ability to play the instrument, the desire to excel, and the willingness to open the mind and the heart to the emotionally communicative joy music can bring are all variables I focus on with my students to bring about the most well-rounded musicians possible. My expectations and standards are very high for my students, and I expect their personal expectations to be at least equal to my own for them. I am not a teacher who believes in raising my voice, or belittling a student to bring about success. Realizing that I am dealing with young children, I adjust my teaching style to accommodate the varying personalities and learning styles in my studio. The hope I have for my students is that whether they go on to study music in college, ultimately establishing professional musical careers, or simply enjoy playing the cello as a life’s hobby, that an appreciation that goes beyond simply learning the mechanics of cello playing is established.
II. Dual-Track Studio Structure
In light of the differences for why students play the cello, I have developed two tracks of study.
Aggressive Track
The aggressive track is a strenuous, time-sensitive, graded curriculum for students who wish to pursue a college degree in music. Timely, successful completion of this program will result in a level of technical and artistic proficiency that will prepare them for continued study in college. Because of the accelerated rate of study, classroom orchestra music, as well as All-State and/or Region music will not be focused on in the lesson. Studio recital performances will be scheduled several times throughout the year.
Progressive Track
For those students who desire to take cello lessons to become more proficient on the instrument, but do not wish to pursue music in college, the progressive track will use some of the same material as the “aggressive track”, but the expected rate of mastery will not be as quick. Orchestra music and All-State/Region music, as well as solos for Spring Festivals will comprise the bulk of the lesson. Studio performances will be encouraged, but not required.
III. Lessons/Practice Requirement
A. Lessons
You will receive one weekly lesson, consisting of two components:
Technical:
1. Scales, arpeggios
2. Etudes and exercises
Repertoire:
Solo piece(s): Every lesson will begin with a performance of all assigned material-no exceptions. Please remember to bring all of your books to your lessons, and a spiral notebook specifically set aside for cello lesson notes and assignments. BE PREPARED!
B. Practice Requirement
You must come prepared for lessons. Because of academic and extracurricular demands, I will not place a mandatory minimum practice requirement on your schedules; however, I will expect assignments to be prepared for all lessons. A suggested minimum practice requirement is as follows:
30-minute lesson=30 minutes of daily practice
45-minute lesson=45-60 minutes of daily practice
60-minute lesson=60-120 minutes of daily practice
C. An Important Misconception…
Regular attendance of lessons does not guarantee that you will become a better player. It is my firm belief that the purpose of the teacher and the lesson is to keep the student on a steady course of improvement by offering appropriate and progressive technical and musical challenges. The amount of effective practice between lessons is what enables the student to become both technically and musically proficient.
IV. The Practice Process
A. Suggestions For Practicing
1. Map out each day what you plan to accomplish, keeping in mind that the expectation is that the entire piece will be performed at a “lesson performance standard” (see “Explanation of Terms” at the end of the syllabus).
2. Divide your music into manageable sections so that you don’t get overwhelmed, or find yourself “cramming” for a lesson-you will find that you will not be prepared for your lesson if you practice this way.
For those of you who have not formulated a feasible practice regiment, I would suggest the following process. It is simple, yet effective.
Step 1: Work out note names and their locations on the cello.
• Write the note name in the music, if you are having
problems, or are transposing in tenor clef.
• Write in fingerings that will help you to know where to go to find the note in question
(please come to me if you do not know the proper notation).
Step 2: Practice the section, focusing on rhythm
• Metronome Practice
• Play the passage only as fast as you can play the most difficult section of that passage.
• Try not to allow the tempo to fluctuate. Remember: Your technique should accommodate the tempo; the tempo
should not accommodate your technique!
Step 3: Practice bowings
• Do not practice incorrect bowings!
• Immediately write in as many bowings as is necessary to
be successful in performing the passage without making
mistakes.
• Use the “5 Times Method” for practicing bowings.
Step 4: Practice intonation
• Check notes that correspond with open strings
• Be ready in your lessons to be able to tell me what notes
you have checked in your practicing.
• Check notes that do not correspond with open strings by
finding the nearest note that does, and measure the distance
from that note.
• Check hand position by testing your “outer frame” to
establish a good hand position.
should not accommodate your technique!
V. Orchestra Music (Aggressive Track Only)
I am happy to help you with orchestra music by providing fingerings and bowings, and helping you learn how to practice it. This, however, will not be substituted for the weekly assignments I give you, and will take up only a small portion of the lesson. If orchestra music is brought to a lesson, please be sure to have all of your other lesson materials at the lesson as well.
VI. Performance Opportunities
I highly encourage my students to perform as much as possible in student recitals. I also encourage non-academy public performances; however, teacher approval is required for all non-academy performances of solo repertoire.
VII. Failure to Comply
3 strikes, and you’re called: I understand that we all are busy at times, and your preparation for your lessons may not be complete. However, if by the third lesson there has been very little, if any progress on music assigned, I will set up a conference with your parent(s), voicing my concern for your progress.
The name of the game is to keep focused on the task at hand–being the best cellist you want to be, and disciplining yourselves to a healthy practice “diet.”
Guarantee: If you follow these guidelines, then you will enjoy playing the cello even more, because of your improved facility on the instrument, and because of the improved quality of your lessons.
VIII. Attendance Policies
A. Teaching Schedule
1. Every parent and student will receive a master teaching schedule, listing
the lesson dates for the entire semester.
2. The Potomac Arts Academy follows the decisions of the Fairfax County
Public Schools for inclement weather, and school closings.
B. Absences Lessons may be rescheduled:
1. if the student is ill
2. if the student has a musical function that conflicts with the lesson time
(i.e., orchestra concert, playing a wedding engagement, etc.)
3. if I cancel for any reason
C. Forfeited Lessons
1. If a student is late for a lesson, the time missed will not be made up, and
the fee for the full lesson will be charged.
2. If I am late for a lesson, the time missed will be made up by either
adding additional time to a later scheduled lesson, or by scheduling a
make-up lesson, in the amount of time missed, at the convenience of the
parent/student.
IX. Explanation of Terms
Lesson Performance Standard
To play a piece at this standard, there must be no excessive hesitation, pauses, or repetitions during the performance of a work during a lesson. Treat each play-through, including the ones you do in your practice time, as a stage performance.
5 Times Method
A method in which the goal is to play the section in question 5 times without making any mistakes. If a mistake is made, then start back at the first time (for example, you’ve played a section 3 times through successfully. On the fourth play-through you make a mistake. Instead of correcting the problem and continuing, start back over and count from time number one again).
X. Practice Accessories-For Parents
Chromatic Tuner: Intonation is a very important part of successful music making. The chromatic tuner is an excellent device that allows you to tune your cello perfectly. In addition to teaching your hands to play the cello, you will also automatically train your ear to hear specific pitches with the help of the tuner. If the cello isn’t in tune, your aural skills will not develop properly, which could easily lead to frustration.
Digital Metronome: In addition to being able to play in tune, it is equally important that your child develop the ability to play in time. The metronome is another invaluable practice device that you will need to purchase. Rhythmic stability is a cornerstone of proficient cello playing.
Notebook: I will be making notes and writing assignments in your notebook so that you will have the important points of each lesson for home reference. A spiral notebook will enable you to recall the concepts we have talked about in a lesson.
I have done some research for you, and the most cost-effective musical accessories can be found at SHAR Products. If you aren’t familiar with SHAR, they are a company in Ann Arbor, Michigan, but have a huge mail-order business. Below is a listing of the appropriate accessories to purchase for your child:
Chromatic Tuner: Korg Chromatic Tuner (model CA-20)
Digital Metronome: Korg Digital Metronome (model MA-20)
To place an order, call (800) 248-SHAR or buy online at http://www.sharmusic.com.
A metronome and a tuner are practice staples for my students. With them, they can accomplish exponentially more than without them. There is also the cost of music. Technique books, solo books, and other materials will be written in the notebook at the first lesson.
I have read the entire syllabus, and agree to its terms.
Student Date
Parent Date
Lesson Flyer(Download DOC)
Lesson Application(Download DOC)
