The final project of MTNA's certification program requires me to submit a discussion of my teaching and studio policies, as well as business ethics.
Scenario 1: Over a four week period a student makes excuses for poor lesson preparation and makes promises for improvement, but nothing of significance changes.
In this situation, I first look to the student's home life. What activities are they involved in? Are they involved in too many to allow time for practice? We go through a typical day, to find out if there is even time for regular practice. Are parents supportive of practice goals? I will often relate how my father would get upset if I practiced too late at night, but this was the only time I felt like practicing as a teen. This confidence lets my students know that I'm human, too, and understand if things don't always work out the way we'd like them to. What is the student's homework load like? Teenagers will often have several hours of homework a night, especially as musicians tend to be high achievers. I emphasize that school has to come first, but maybe they could be smarter about how they are doing their homework (does their teacher intend for that assignment to take 6 hours, or is the student doing it the hard way?). Usually, we can find a few minutes here, a few minutes there, to slip in some practice time: before school, immediately after school, before dinner, etc.
Once I have established that a student has the ability to practice, I work on their will to practice. We begin by examining their goals: do they want college scholarships or to major in music, or do they want to just play for fun? Do they want to play in a group? Often, I will suggest playing in an orchestra as a way to increase motivation. Regardless of whether a student knows if they want to, most students find playing in an orchestra or quartet to be a lot of fun, so I encourage students to give one a try. Once goals are iterated, we then look at the music the student has been working on. Would they prefer different music? In addition to classical music of all varieties, I have also taught students fiddle music, music from movies, and adapted from songs by pop artists. Is the music too easy, or too hard? Have they just been on a piece for too long, and need something different? Even if a piece isn't "passed" by then, I will frequently assign something different, just to get things going again.
Scenario 2: The school ensemble director wants your student to prepare a solo for a school concert, but the assigned selection is too difficult.
To begin addressing this situation, I would first congratulate the student. Being selected for a solo is a big deal, particularly for a violinist, so obviously they are doing something right in class. Next, I would encourage my student to talk to their school teacher and find out what exactly are the expectations - when are they expected to perform the solo, why were they picked for the solo, will they receive any extra help, if so, when, how often, and from whom? I would also give my card to the student to give to their school teacher, so they could contact me, and I would try to contact their teacher so that we could coordinate our efforts. I would want to discuss my concerns with the other teacher, and find out how I could best help that student be successful.
Finally, it's time to examine what is too difficult about the solo. Does it use techniques the student has not mastered yet, is it much faster than they are used to playing, or involve a key the student has never played in before? Often, I find students told they have to shift before I think they're ready. In these cases, I explain to the student why I'd rather they not start shifting yet, as well as explain to their classroom teacher. Then, I would write in their part, notes an octave lower, so they can still contribute, but not have to shift yet. Finally, I would begin teaching them how to shift. It's usually a long process that they won't be ready to perform in time for their solo, but I have found that once shifting is assigned, more will come. In the case of the other reasons the solo may be too hard, I simply use the solo as a teaching moment. New scales, arpeggios, and practice techniques can be taught which will help the student be successful.
Scenario #3: Family members want their child to audition for every talent contest, festival, and competition available.
First, I have a discussion with the student about his or her goals. Some students have high ambitions for themselves, while other students just want to play for fun. Next, I bring the family member(s) into the conversation. I let them know about their student's goals, and that I have to respect them. Finally, I encourage the student to pick a couple of competitions to focus on, and help them choose ones that will best help them achieve their goals. Even if a student wants to major in music, get college scholarships, and become a world famous soloist, it is often better to narrow their focus. I explain to the parent that it is better to do really well in just a few competitions, and if desired, more can always be added later. This usually resolves the problem.
Studio Policies 2012-2013
Monthly Contract
Tuition is due on the 1st of the month, and is late on the 8th. Tuition may be paid in person with cash or check, online via paypal (SouthHillStringStudio@gmail.com).
Tuition is as follows:
30 mins - $100/month
45 mins - $125/month
Late payment will result in a late fee of $10. A check returned NSF will result in a $10 NSF fee, plus the late fee of $10.
One month’s advance notice is required for discontinuation of lessons. If no advance notice is given, payment for that month is still due.
Students aged 7 and over will have lessons of at least 45 minutes.
Your lesson time is reserved for you. As such, I am unable to schedule make-ups, and tuition will not be pro-rated.
One missed payment (over 2 weeks late), or two consecutive missed lessons will result in a termination of service. Payment will still be due. Service may be re-instated at any time, at my discretion.
You agree to have the student video recorded during their lesson. Bring a USB flashdrive or blank DVD to take home your video. This is for your use during the week.
Wright String Studio, LLC and Ashley Wright are not to be held liable for any injury, loss, damage or theft at any Wright String Studio, LLC event, including but not limited to lessons and recitals.
Students will have an instrument of appropriate size and quality to allow them to make progress.
Arrive for your lesson a few minutes early to get ready. I have a tight schedule, and cannot hold your lesson late and delay the next student.
Ask for help when you need it; ask questions when you don't understand something.
Have your “lesson notebook” at each lesson, to be referred to each practice session, your theory book, and all of your music: any that I provide, or that I request for you to have, or that you are playing for school.
Practice, as written out weekly in your “lesson notebook”, on a daily basis, including listening to your CD, practicing your flashcards, and completing music theory assignments.
Group classes, concerts and recitals are part of your musical education and attendance is required.
Students and parents are encouraged to check the website, blog, and Facebook page often for new updates.
New Student Interview: I encourage all new students (beginners and transfer) to first schedule a meet and greet. Some of these questions are answered in the preliminary phone calls or emails, but the rest are covered during the meet and greet:
1 Student details: name, age, previous music experience, etc.
2 I introduce myself and my infant son (my cat usually hides for the first few lessons; I introduce her when she makes her first appearance).
3 I provide them with a copy of my studio policies, which every student signs before they are accepted into the studio.
4 I size them for an instrument, and examine their instrument (if they have one). If they do not, I provide them with a list of music stores that rent instruments.
5 I ask if the student has any questions. Sometimes they will ask me to play for them, so I might whip out the Bach a minor.
6 Finally, I ask what kind of music the student enjoys playing, and let them know what they would need for their first lesson (usually "Master Theory" book 1 and "Strings Fun and Easy" volume 3).
7 Last, if they indicate they would like to take lessons with me (I don't ask, as I feel this is a decision best made on their own, but oftentimes parents come with their minds already made up), I set up their first lesson and make sure the time works well for them.
Transfer Student: All of the above, plus: (Usually I get students that play in their school orchestra, but have not had private lessons. I don't often get actual transfer students, so the first 2 questions don't apply to most of my "transfer" students.)
1 Why do you want to switch teachers?
2 Have you talked to your current teacher yet? I encourage them to, sooner rather than later, and let them know that I won't accept new students from another teacher without speaking to the student's current teacher.
3 I ask them to play something, anything. As they play, I make a note of a few things we would want to work on, and communicate that to the student when they finish.
4 I have them sight read something that seems near the level of the piece they played for me. I may have them play a few different things, just letting them know that it's only so I can get a feel for their playing. If other things pop out (like they're having trouble reading notes), I make a note to the student that those would be additional things we would work on.