Repertoire that is too difficult for the student!!!

[Evangeline Williams]

I noticed something in your post…”memorized”.

[carl-swanson]

Thanks Evangeline, but

[carl-swanson]

I just got back from a harp mini-conference in Florida.

[unknown-user]

Hi Carl,

When I first started harp lessons about 21/2 years ago I had a teacher who was very concerned about proper tecnique. This was good for me as a beginner at the time. I see the full benefit now since I

[Tacye]

I think there are two different points to your post- the first being students playing music above their technical ability, and the second being your definition of too difficult.

More than students learning some pieces beyond their current technical ability what astonishes me is the student, or their teacher, choosing those peices for a masterclass.

[unknown-user]

I can’t help feeling that you have a unique standard for learning pieces. I was raised on little pieces, many of which were a waste of time as they could not remain in my repertoire for any purpose. I was then given bigger pieces like sonatas and concertos which took a year or more. They inspired me, challenged my mind to expand and my technique to grow. Your approach would seem to prevent reaching higher levels unless someone has twenty years to study or more. It is impossible I would say, to learn a piece in five weeks with any kind of depth or understanding, or even to be reading all the notes correctly. It would seem logical for a student to bring a nearly finished piece to a master class. I certainly don’t memorize anything that quickly and never have.

[unknown-user]

Hi Carl

[carl-swanson]

I agree Jim that a certification program would go a long way to avoid

hideously underqualified people from teaching.

[Calista Anne Koch]

Carl,

You hit on a subject that I have considered several times to do research on.

[Tacye]

There are teaching certifications which can be obtained.

[barbara-brundage]

Well, all I can say to this is that I know the student Carl was referring to and his most

frequent teacher, and I assure you that she would easily qualify for any certification

program anywhere.

[unknown-user]

Well, who would decide who gets certified and how? Salzedo and his protegees tried this back in the 40s or 50s and it didn’t catch on. I think it would make more sense to try to reach people before they start, get them interested and give them some idea of what to look for in a teacher, but what is that? They shouldn’t be afraid of a top professional because they’re beginners. They should try to find compatibility, but most of all quality. Frankly, I don’t see any way to do it. If you start regimenting, not everyone will fit in, and it will alter what teachers do, just like Suzuki does. What each teacher does need to do is compile a comprehensive graded repertoire list so they know what to assign, and a student knows what they can choose from perhaps. Can we agree on what level of difficulty different pieces are?

I would say 5=Salzedo Ballade or Variations, Debussy Danses, Ginastera Concerto, CPE Bach Sonata

4=Grandjany Children at Play, Salzedo Prelude for a Drama, Mozart Concerto, Ravel Introduction et Allegro, Debussy Sonata, Spohr Fantasie, Bach Chaconne

3=Pierne Impromptu-Caprice, Rota Sarabande and Toccata, Pescetti Sonata, Handel Concerto, Prokofiev Prelude,

2=Handel Theme and Variations, Bach Bourree

1=Bach Prelude in C, Salzedo Preludes for Beginners, Grandjany Automne

0=Beginner music, most basic.

Perhaps it take two-three years for a youngster to progress levels, one-two for a teen, less for college or adult who practices.

[unknown-user]

I am the student Carl is referring too.

[unknown-user]

Patrick…if you love this piece of music and enjoy working on it, I say, “go for it”!

I have a few such as this in progress, myself.

[Evangeline Williams]

Someone mentioned students doing too difficult pieces because they demanded to learn them, and the teacher didn’t argue.

[Author]

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