Different teaching methods

Areas worth monitoring

1. Timing of the lesson

   Beginner lessons of 30 minutes are short. Schedule a 45 minute slot for more advanced students.
2. Balancing personal remarks with getting something done

   Connection matters, but so does forward motion in the lesson.
3. Concentrate on one or two aspects to fix — and be very specific

   For instance, when fixing the bow hold: spend time in each scale and piece watching it, maybe every few measures. Ignore everything else.
4. Let the student play before giving feedback

   Let the student play what he or she has worked on before giving feedback — don't interfere right away.
5. Feedback should be specific — both positive and corrective

   Not just a general "good!" It is so important that the student learns to be specific with himself or herself. The teacher can give a good example to imitate.
6. Practice with the student to show how to get something done

   This is the area most influential — it will speed up their progress best.
7. Keep notes while teaching, or right afterwards

   Keep notes for the student too if they can't do it themselves.
8. Prepare the lesson — don't just react

   Often what is pretty clear in our head before the lesson gets confusing when the student is there.
9. Use theory as appropriate

   Piano teachers do that very effectively.
10. Investigate the student's background

    For instance: a piano background means good rhythm and the ability to read both bass and treble clef — but ears need training, and length of notes on the bow may be an issue.

Issues coming up

1. How to teach different bowings.
2. Tuning advice.
3. Writing things down for the student. Notes on practicing, scales, and other theory.
4. Writing in fingerings and bowings as necessary.
5. Explain the difference between sight-reading and learning.
6. Check on both thumbs — since we don't see them well.
7. Listen to the practiced pieces first, then comment in detail.
8. Address what bothers the student. Very often they are fretting about something that may prove negligible.
9. Use correct language — not "4th finger extensions"; use "bow grip"; "press" for forte.
10. Bow work: go from faster bow speed and less bow to longer bows and slower bow speed.
11. Be clear about theory explanations.
12. Demonstrate what the student should be able to do — don't vibrate unless they can already, stay on the string unless they have learned brush stroke, etc.
13. Spend time training the ear — singing, matching octaves, matching your playing, correcting up and down (which is confusing on the cello).