What makes for a good(or bad) teacher?

[Philippa mcauliffe]

I would add that having been through 5 teachers myself over

[Fien Barnett-Neefs]

I’ve had two previous teachers, I am now with my third. My first teacher was good to start with, but I have no trouble pointing out nuances and ‘flaws’ that I did not like. A friend of mine was studying harp with her, too. She compared me to her and asked me if I wanted to drop a piece, because my friend was finding it too difficult.

I like teachers who drive you on, tell you how it stands and give you subtle motivations. My second teacher was lovely, but terrible for my hand posture. I greatly developed my musical style and drive with her, but my articulation suffered. Nonetheless, she is wonderful and I adore her.

My third and current harp teacher is very technical, which I think of positively. There is ample room for musical expression, but Fingering Comes First. She motivates me, but not in the ‘Oh wow you’re really great’ way. For instance, she tells me that I would be able to play certain pieces in an orchestra, that they are easy enough for me to do. Consequently I look at the score with a glazed expression, but with her push forwards I feel I can achieve anything.

[John McK]

A good teacher (music teachers included) gives detailed individual feedback, positive and negative.

This sounds totally obvious, but unfortunately not all teachers do it. I’m speaking particularly of workshop settings. I go to “band camp” (Irish traditional music) workshops every summer as a vacation. The instructors generally to fall into two varieties:

The first, and overwhelming majority, of workshop instructors end up teaching only repertoire without very little focus on technique or expression. (I’m speaking specifically on non-harp instructors here) While it’s possible to learn a great deal this way, it isn’t really a good use of time or money. I believe this happens more in “folk” traditions – or at least this has been my experience. I hope this isn’t true in the harp world at large.

The second variety will run a workshop more as a “master class” and have each student play individually, then give suggestions and feedback. Grey Larsen and Mary Bergin (flute and pennywhistle) are both excellent teachers. I think I learned more from Mary Bergin in the first ten minutes of a class than I did from weeks and weeks of instuction from others.

Billy Jackson and Grainne Hambly are both great. In fact, Billy let me sit in with a loner instrument for a week at the Swannanoa Gathering before I had even decided to buy a harp. I was clearly “behind the curve” compared to the other students, but he managed to give me a very basic but very solid foundation.

I’ve had very strict and demanding teachers but none that I would classify as “mean.” I won’t tolerate being personally demeaned. . .

[Author]

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