Category Archives: Teaching

Teaching studio: currently full

Please note that currently, my teaching studio is full and I am not accepting any new private students for the moment. Sorry for any inconvenience – I do know that it is hard to find a good string teacher in Scotland!

If this situation changes, and it may do come the spring term, I will post on this blog and on my facebook page to let you all know! (See sidebar or here www.facebook.com/jesswyattviola)

Keep playing and practising in the meanwhile,

Jess

What I’m most likely to say when I’m teaching…

Now that I’ve got some years of teaching under my belt, here are a few of the things I find myself saying most often in lessons to students, whether they are very young or old, or are very experienced or have only had a few lessons:

  • Watch your rhythm! A surprising number of people will unconsciously play minims as crochets, or more commonly crotchets as quavers, and I know that even I do things like this occasionally! My jobs is to point out where students are playing the wrong rhythm and encourage them to count and not guess where the beats are! A good sense of rhythm is so key to playing any instrument – I often tell my pupils that I’d rather they played the correct rhythm and missed a few notes than paused and played the right notes! It is often a good idea to take some time out to work on rhythms – clapping rhythms at sight or saying rhythm names like ‘ta’ and ‘te-te’ or ‘tea’ and ‘coffee’ really helps.
  • Use more bow on long notes: a lot of beginner students, and some more advanced ones, tend to use tiny bows for everything, especially long notes, producing a sound I like to called ‘mousy’. In order to encourage them to use more bow and produce a bigger sound, I tell them to try and use the whole bow, from the grip to almost the point, and I often put stickers on the bow (marking just above the grip, the middle and just below the tip) so that there is a visual aid for them, as some find it hard to tell. For more advanced students, practising scales and exercises with whole bows is key – just getting them to learn what the movement of their hand and arm feels like when they use the whole bow is sometimes new to them (see below).
  • Make sure your bow is parallel with the bridge right to the tip – this is an extremely common fault, especially in viola players where the instrument is large and the bow is long. Bowing at an angle, either with the bow angled towards or away from the bridge, will cause the sound to become uneven and break, and the player will experience difficulty at the tip and frog. Sometimes guiding the student’s hand all the way through the bow, or placing your bow to form a ‘guide’ across the strings while they bow will help, though a lot of the time the student will go back to old habits when they play their pieces. Practising open strings and easy scales in a mirror to check the bow is straight will help, but if bowing crooked becomes a habit then it is more difficult to correct, so teachers should be vigilant when beginners first start to use the bow.
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  • Use less bow on short, fast notes – it is so common for students to come to me with difficult fast passages complaining of not being able to play them, when they are using far too much bow. One of my favourite mantras at the moment is ‘Keep Calm and Use Less Bow’ – one student said I should get a mug with this on it! Generally, the faster the passage and the shorter the notes in it, the less bow you need – for really fast semiquavers, I only use about a centimetre or less. This is a revelation for most people and can easily transform a messy passage (think Vivaldi Concerto in A minor for example) into something much more neat and controlled.

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  • Bent thumb in bow hold – this is a common fault with the bow hold experienced by most beginners and sometime more advanced players. The right thumb needs to be nicely curved outwards, not inwards or straight, otherwise the fingers and wrist will stiffen and the bowhold becomes locked in position, making it much more difficult to bow and impossible to create any subtlety in the sound. Bow hold exercises such as bending and flexing the thumb ought to help with this, but constant reminders are often necessary! See this video for how to hold a violin or viola bow
  • Stand properly – no standing on one leg/slouching/standing in ballet positions! Correct posture is vital for a good sound, so get into the habit of standing with feet shoulder width apart, left foot slightly in front of right foot and shoulders and arms relaxed when the instrument is in position. A common fault is to let the scroll droop, especially with the heavy viola – I often say to children ‘imagine a balloon tied to your scroll!’

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  • Observe ALL the markings in the music – bowings, slurs, articulation, tempo but ESPECIALLY key signatures! I can’t stress how important this is for anyone learning a musical instrument. I often have students who will ‘bulldoze’ their way through a piece ignoring accidentals, bowings, slurrings and sometimes not even playing all the notes! Cue me pointing out all the things they have missed and the student listening with glazed eyes… Attention to detail is really important in music, as the difference between F sharp and F natural in a key signature of D major is fundamental to the music, but may be easily missed if the key signature is ignored. Understanding key signatures is difficult but an essential piece of theory that no musician can be without, so starting early with the concept of keys and sharps/flats is sensible.

 

 

Taking the plunge…

Those of you who read this blog regularly will know that for a long time now I have had a project in the back of my mind: a social project connected with the power of the arts to transform lives for the better. Having spent time in a hospital recently, a lot of things have become clearer to me: the power of human kindness, patience, compassion and above all, a little space to live your own life in.

I have been wondering, waiting and worrying, as I am wont to do, about the timing of such a project, the feasibility issues, the cost, the practical logistics, when I thought: ‘it might be now, or never’. So I took a chance, A risk, some might say. I took the plunge. I’m still not sure that it was the “right” thing to do, but perhaps I never will be, and anyway, I’m not sure that that is the important thing here.

The important thing is:

I did something. Not Nothing. And that means something.

I did it. Here goes. I said it.

 St Andrews Smiles Better Facebook Page – An experiment in positive thinking

“Don’t Ration Compassion” (a monk at Samye Ling Monastery, fieldwork, 2009)

This project is extremely close to my heart. So many people have touched my life in different ways, that I find it very hard not to say Thanks every time someone does something nice for me. So I want to pass it on. Play it forward. Form my own “Karma Army” like Danny Wallace. Help local businesses succeed and create employment opportunities. Play music to people to cheer them up. Do random acts of kindness and smile at people I don’t know. 

 

Thank you all for reading.

 

Love,

Jess xxxxxxxxxxx

With a little help from my friends… An open invitation!

An Open Invitation: ‘With a little help from my friends’

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Thursday 29th August

St Andrews Church, Queen’s Terrace, St Andrews

1.30pm

PROGRAMME:

Cello suites/Scottish Music/Surprise!!

Who, me?

Who, me?

You will need:

FRIENDS…….
FAMILY……..
CAKE……
MONEY…..

Tea/wine/champagne…….

Your ears!

The plan:

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The charities:

Heisenberg (Jill Craig)

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Families First (St Andrews)

Sistema Scotland/In Harmony

Arts in Fife/Dundee

Drake Music Scotland

Music in Hospitals

Military Wives Choir (Gareth Malone)

Scottish Ensemble {insert group here}

Rokpa/Tibetan Children’s Villages/ICT

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Brooklands College

Signpost International (Dundee)

Just Made/Gillian Gamble

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Pragya (India)

RSPCA/RSPB/Big cat rescue

SUGGESTIONS WELCOME!! Answers on a post card to: Jess Long!

Teaching students how to practise

As an instrumental teacher, I’m often asked by parents how much they think their children should practise their instruments, or told proudly that they practise every day or even twice a day. In turn, I often ask my pupils how much they practise, which is most often met with a sheepish grin and a muttered ‘…um…’

We all know the old adage ‘practice makes perfect’, and as a professional musician myself, I know from experience that this is all too true. Behind every polished performance are hours and hours of dedicated rehearsal, practice, memorisation and close analysis of problems and their solutions. What not everyone knows, however, is how to practise so that the time spent practising is spent in the best possible way; in other words, how to achieve the most in the limited amount of time that is allotted to practising.

Many children, and adult learners for that matter, have not been told the fundamentals of how to practise a piece in order to correct the mistakes that their teacher points out to them. How to practise is part of the fundamental toolkit of every musician, which includes basics such as how to tune your instrument, how to hold it correctly and make the best sound from it, and how to improve your own playing.

As a teacher, I don’t like to spoon-feed my pupils – I like to try and challenge them with questions about what they are playing, why, what this means and so on. But I had sort of assumed – and this was a dangerous assumption – that most children know how to practise in such a way that they can improve and see their own improvement. I now know that I should be telling all my pupils the basics of how to practise a piece, and not just assume that this is obvious – as to an adult, practising the difficult bits of a piece more than the easier bits is common sense.

In my experience as a teacher, children tend to play their pieces through from beginning to end, often as fast as possible, and it doesn’t really occur to them that this might not be the most effective way of practising them. What often happens is that the same mistakes get repeated every time they play the piece through, and as such become ‘part’ of the piece and the way they play it, making it even more difficult for the teacher to correct when the mistake is pointed out. These habitual mistakes can be addressed, but what is much more effective is pointing out that playing the more difficult bars or sections of a piece on their own repeatedly until they became easier, then fitting them back into the piece, is a much better way of approaching the difficulties of a piece. Of course the piece must be played through from time to time to prepare it for performance, but variety is important – many teachers have emphasised to me the importance of not always starting at the beginning of a piece.

So, here’s my guide to mindful practising:

How to practise a piece mindfully – and really improve

  • Play the piece through to get an overview of the technical and musical challenges presented by it
  • Identify and isolate the difficult bars of the piece
  • Play these bars on their own, slowly if necessary,  become aware of the problems and work out solutions to these problems (e.g. bowings, shifts, fingerings)
  • Once you have worked out the solutions to the problems, play the difficult bars until you are satisfied that they are improving (this may take a long time in the case of very difficult music!)
  • Play the bars in context again, making sure that the join between the difficult bars and the others is practised thoroughly
  • Play the piece through again, this time being aware of the difficult bars and (hopefully) their improvement
  • Repeat the process regularly!

Unfortunately, there are no shortcuts to learning a musical instrument, but if this kind of mindful practice can be learnt and applied, then it will make the process of learning to play music more rewarding and less frustrating for the pupil. In other words, it is the quality, not the quantity, of practice that really matters!

For more information on how to practise and for discussions of many other issues that musicians face, see the blog of The Bulletproof Musician

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“The right kind of practice is not a matter of hours. Practice should
represent the utmost concentration of brain. It is better to play with
concentration for two hours than to practice eight without. I should say
that four hours would be a good maximum practice time—I never ask
more of my pupils—and that during each minute of the time the brain be
as active as the fingers.”
 
 -Leopold Auer