Elizabeth, yes, you do have to cut older students some slack. If they are trying their best, but still can’t achieve an ideal position or articulation, you need to accept that. There should be improvement over time as their flexibility increases from playing the instrument, but there will be limits to what they can do. My adult students will tell me when they have physical problems/conditions that prevent them from modeling textbook form. I try to work with them to advance their technique in a way that is individually possible for them.

Hi there,
I think this is a great question. I have several older students, and I think the technique issue is a balancing act. They have to learn enough technique to be able to play with fluidity and satisfaction, without over doing it. And I agree with what the others have said. I try to be clear about their learning goals and objectives, and to take into account any physical limitations they might have. I actually find the creativity of this process to be fun, and have been surprised by how well people can do with a little guidance and practice. Can’t close a finger to the palm? Then explore how to get the best tone quality with what you can do, and as well as looking at how to work with less flexible fingers in faster passages. Sometimes it is technique, sometimes changing fingering, whatever works. I find I just have to find new ways that fit that student, so they can make the music they want to make. I am not classically trained, so this may influence my perspective as well!

Ellen, I love your comment that you find it fun to try and think of ways around these problems. I taught embroidery for several years and got quite excited when a student came along who had physical problems that made the process difficult for her (it was usually a her, though I did teach one man) because it allows the teacher to be really creative in finding different ways of coping with the same problem.

It certainly isn’t about seeing older students (of which I am now one) as ‘lesser’ in any way; it’s about enabling those who have difficulties to play on a level playing field with those who don’t. Many learners will find that by adapting their technique to suit their abilities they can gradually move towards using the same techniques as everyone else – some won’t, but that’s no reason why they shouldn’t get as much enjoyment from their chosen pastime as anyone else. As Diana points out, it’s something of a balancing act but when you’re teaching humans rather than machines you have to learn to be flexible in making allowances for human problems and you have to get to know each student individually and discover what is right for each one.

A few ways I have adjusted what is on a page, for older harp students: Less notes in left hand, by possibly playing on first beat only, or first and third beats in 4/4. Slower tempo than normal. Right hand smaller leaps, or changing the voicing and putting a needed accidental in the other hand. Emphasizing practice of one hand only until very well learned before joining both hands. Changing fingering from any arpeggios that are requiring the same hand to pass 1/4 upward or downward 4/1, to use the longer finger 3 instead of 4. Watching the student’s hand from both sides to determine where it is awkward for him/her and making appropriate adjustments (we are too often always teaching from another harp, as we are seated on one side: get up and watch sometimes what the hand is doing from the other side to find more clues!)