Editor’s Note: Student Scenarios is a new series that looks at some of the difficult dilemmas, common stumbling blocks, and unique situations harp teachers encounter. Longtime teacher and practicing guru Anne Sullivan takes on different student scenarios in each issue and offers some possible solutions. Email her your questions at anne@harpmastery.com.

With a situation like either of these, it is often difficult to know what to do. As teachers, our first instinct is to try to “fix the problem.” If we dive right into the middle of the problem, however, we will likely not get the resolution we want. The most critical issue to address before anything else is to determine what, precisely, is the problem.

What we are seeing in the lesson is a manifestation, a result, or a symptom of the underlying problem, not the problem itself. The issue isn’t really the wrong notes; it’s why the student is failing to correct them in practice. If the student has made no progress between lessons, we need to know why. Is it lack of practice time, poor practice skills, lack of discipline, or lack of interest? You can imagine that a lack of practice time clearly calls for a different approach than a lack of discipline.

If we spend the lesson time correcting the same mistakes as last lesson and the lesson before, we are avoiding the difficult but essential task of finding out why this is happening. My personal guideline is that if a student has one “no progress” lesson, I try to address the errors with practice techniques significantly different from those I suggested the previous week, to see if a different approach is all that is needed. But if the next lesson still shows no improvement, then I know it’s time to look for the reason behind it all.

One week when the student hasn’t practiced doesn’t usually bother me. Real life gets in the way sometimes for younger students, just as it does for adults. I make no such allowances, though, for my college performance majors and students actively preparing for recitals, auditions, or competitions. Those students must learn to develop and maintain discipline.

The solution starts with open and honest communication. I use a process I call “The Four Rs” to facilitate the communication and work through to a resolution of the problem.

The First R: Recognition

The essence of this situation lies in the potential difference between what you perceive and what the student perceives. You may see repeated errors, while your student doesn’t really notice them. You and your student may have different ideas of what constitutes progress; your standards may be different.

So the first step is to state what you see in a non-judgmental way and to ask the student for her thoughts in response. You might say something like, “I notice that we’re correcting the same mistakes we’ve corrected for the past couple of lessons. What is happening in your practice?” You might probe a little into your student’s practice habits. Does she have a regular time to practice? Does she have a separate, quiet space to practice? How does she use her practice time? The point of this dialogue is to bring the situation—the lack of progress—into the open. It’s the recognition of the problem by the student that is the biggest step toward its resolution.

We teachers are often surprised that the student has a completely different perception. A student may be perfectly content to just tread water instead of making big strides. Or he may not understand what you consider a steady and acceptable rate of progress, which brings us to the second R.

The Second R: Results

At first glance, student and teacher should be on the same page when it comes to results. We all want progress, right?

Actually, this isn’t always the case. Sometimes the student and teacher have different goals. Sometimes the teacher expects more dedication than the student wants to give. I have taught students who were very driven and ambitious. They are fun to teach because they want to rise to any challenge I put before them. I have also taught students who enjoy playing the harp but aren’t focused on achievement; they have many interests besides the harp in their lives. If I adjust my expectations to meet theirs, we can work together well, so they learn and grow as harpists at a pace that suits them.

This is where it’s important to have an atmosphere that allows for open and judgment-free conversation. What results does the student want? What results do you want? How do those results align, or are they incompatible?

Ideally, you and the student should arrive at a level of results that suits you both. It is possible, however, that you will find your ideas are too far apart, in which case it may be time to part ways.

The Third R: Reality

Once you have agreed on the results that you want, you need to consider the reality of the situation. The student may be very ambitious, but if his schedule is jam-packed with other obligations, you will need to adjust your goals and weekly expectations. The most important thing at this stage is to be realistic—no rose-colored glasses. If the student only has time to practice a half hour per day, then you must pace your curriculum around that time limit. On the other hand, if the student is committing to a particular piece or performance goal, then she will have to step up her practice to a level which will allow her to achieve it. In short, the two of you together must create a plan that is in line with your joint priorities and the student’s situation.

The Fourth R: Responsibility

This is where your plan succeeds or fails. Both teacher and student must agree to be responsible for their respective parts of the plan. The student must commit to the agreed-upon practice plan, and the teacher must commit to the agreed-upon curriculum.

The teacher has an added burden here. Not only do you have to call the student to account on the practice plan, but you also must call yourself to account on the curriculum. If you and the student have agreed to work on a particular kind of music or at a particular pace, then you need to stand by that. If you require all your students to play at your annual recital, then the student needs to play. But if you have told your performance-phobic student that she doesn’t have to do that, you have to hold to your end of the bargain.

There is a single theme that runs through these four Rs: clear and honest communication. When you are open about your expectations and considerate of your student’s aims, you make your studio a place for teamwork and shared musical achievement, and you will have a studio filled with happy students who you can’t wait to see each week. •