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I suspect that it simply the purpose of at least one student to constantly baffle the teacher, regardless of all reason.
Anyone who emails you out of the blue “enquiring” about lessons with lots of vague details is spamming. Beyond that, these emails are phrased in similar ways. What is troubling is that they are improving their English and their writing format so that someday they will be able to fool many of us. So, it is better not to answer any email inquiries unless they are verifiable. Now that they have read that, they will start including some phony verification in their emails.
Let’s just say, for
That may be the problem, then. While it is an old tradition, the way Hasselmans taught, I would not play along with the student except occasionally. They could become dependent on you and unable to do it on their own. Besides, they need to hear themselves clearly. I think it is a great thing to do sometimes, and I wish I had more instruments to do so. I think I would have been intimidated if my teachers had always played my repertoire.
If one will be able to play all the selections, then certainly finish with the most polished one.
I wonder, as I must, what would happen if teachers in Britain didn’t use any ABRSM material at all and freely chose repertoire on their own. Would there students be unable to be admitted to school, however good?
I ask, because in the U.S., we have no required repertoire except for competitions or auditions, so we have complete freedom to choose repertoire.
Which is a point in itself, the necessity of teaching how to finger music. It’s also like when a student wants to “interpret” a piece they don’t know yet.
There’s also writing the fingerings you want in a red pencil, Prismacolor Crimson Lake is the proper color. One just does not tolerate or one loses the ability to really direct the student, if it comes to that, but you must be prepared to be strict. If a student always uses their own fingerings, they will never learn good fingering.
Well, here’s how my teacher would have forced me, if necessary: not letting me play a single note with a different finger, stopping me, holding my hand if necessary so it comes out right. That is how I learned good position and technique, and it was the only thing that worked for me. Holding the student’s hand is essential, basic, primal, and most effective. I have tried using a conductor’s baton, which is good for reaching between the strings, but it was a little too pointy, perhaps.
I think this is a challenge, but a much more simple and basic one. We have to learn to perform in all stressful situations, and the lesson is the first one we have to learn to deal with. The emotions make everything cloudy and intangible, and cutting through them with logic, directness, firmness that is meant kindly is so helpful. It also has an awful lot to do with the student’s ego, and its domination at that age. Many a great teacher has had to induce tears to break through the ego’s resistance to fully learning in order to fully teach the student. Students can have so much pride or self-regard, or so little, that they cannot tolerate disappoinment, frustration or challenges. There are also students who have never run into these stepping stones before.
The Harry Somers is modern and somewhat showy, not too difficult. The Saint-Saens might stand up well to other instruments.
Good question! The Introduction et Allegro of Ravel can be used as a concerto. Widor’s Chorale et Variations might be an option, Reinecke maybe, Pierne if you want something harpy, Busser wrote a concerto I know nothing about. Rodrigo’s Concierto Serenata is a big piece, but solid and classically showy, and he’s a big name, for an easier showy piece there is his Concierto de Aranjuez. The Rota Concerto is strong, and I know there are others. Dig, dig, dig, buy, buy, buy scores.
