ETUDE
September 1938
volume LVI
number 9
page 618

A Fresh Start for Teacher and Pupil

By George C. Krick

AGAIN WE ARE on the threshold of a new season filled with new hopes, aspirations and resolutions. Refreshed after a period of rest and recreation it now behooves us to take stock of ourselves and become fully prepared for what there is in store for us in the coming months. If you are not one of those who has taken time by the forelock by using some of the vacation days for this purpose, it is well to begin at once to brush up on technic and to send for the latest catalogs from publishers of fretted instrument music in order to become familiar with all the new publications. A teacher who uses the same material year in and year out and refuses to keep his knowledge up to date, soon finds himself in a rut on a downward path, which eventually leads to failure. Where a certain guitar or banjo method may be just the thing for one pupil, another of opposite temperament and musical ability will require something different and it is the progressive, well informed teacher, who will select the right studies for each pupil in order to assure consistent progress, which finally means success.

Amongst the many letters addressed to this department during the past year, we have received an occasional complaint about poor business and asking how to secure more pupils. Then again we have had reports from others, who boasted of a full schedule in spite of the business depression. Evidently there are quite a number of teachers who have found a way of selling themselves and their services to the public through intelligent and vigorous advertising. Just what the best method of advertising should be in his own environment, is a problem every teacher must make an effort to solve right at the start of his career. A card in a metropolitan or local newspaper is effective, but it should be displayed consistently over a long period. Circulars mentioning the instruments taught, the possibilities and advantages of playing the fretted instruments and describing your methods of teaching should be sent to every prospect and, in smaller communities, to every resident. If there is a radio station in or near your town it is advisable to arrange for a weekly broadcast for yourself and a few advanced pupils. Many stations will give you this time gratis, if you can put over an interesting program. Pupils’ recitals in the studio or in local churches, Sunday Schools, or Y M C A’s, where advanced pupils and fretted instrument ensembles may take part, are perhaps the most effective and least expensive advertising mediums. An attractive, well delivered program of guitar, mandolin and banjo numbers in solo and ensemble never fails to stimulate the interest of an audience and will always tempt many of the hearers to become one of the performers instead of remaining a listener.

After the student enrollment has arrived at a satisfactory stage, the main task is to hold the pupils and keep them interested. By this we do not mean to keep them coming to the studio, merely to collect the dollar and a half or two dollar fee each week, but to have them come for advice and help in all their musical problems and for an outline of study from week to week and year to year until they have become so proficient, that they may take pride in their own accomplishment and be a credit to their master.

As soon as a pupil has made sufficient progress on his respective instrument, he should be permitted to become a member of the studio orchestra. Nothing in his early student days will create so much interest and give him so much pleasure, as to become part and parcel of an ensemble of players rehearsing musical numbers within the range of their technical abilities and occasionally performing them before relatives and friends. For junior orchestras it is advisable to select music that is easily understood, melodious and well adapted to the technic of the fretted instruments; and do not hesitate to add occasionally a popular number of the better type.

Fretted instrument teachers, perhaps more so than others, are frequently confronted with the statement from a prospective pupil, "I just want to learn enough to play popular music." We recall a chat with a prominent teacher during which he boasted that "When anyone comes to me with that request I tell him that he has come to the wrong place"; which, in our humble opinion, is an unforgivable attitude. The mere fact that the person bought an instrument and is calling on a teacher proves that he is anxious to learn to play; and it is a credit to any teacher to take in hand a pupil of that sort and not only teach him to read music and the technic of the instrument, but also develop gradually, by using tact and diplomacy and by frequent personal demonstrations, an understanding and liking of the better class of music. We have in mind instances of this kind, where pupils who started in a similar way, eventually became good players, and the growth of their musical appreciation was such that they became regular subscribers at symphony concerts and operatic performances.

It goes without saying that a pleasing personality, a thorough knowledge of everything pertaining to fretted instruments and a well equipped, pleasantly furnished studio are important contributing factors to the success of any teacher.

The most conscientious and well informed teacher cannot get good results, unless the pupil gives him his full cooperation by faithfully studying the lesson material assigned to him from week to week. The pupil should carry out to the letter the instructions given and try to have the lesson as perfect as possible. even if it is necessary sometimes to add fifteen or twenty minutes to the allotted practice period. A lesson well digested will prove a joy to pupil and teacher alike. Parents of children studying music can assist the teacher greatly by seeing to it that the young pupil adheres to a regular daily schedule. Ask the child to play over the lesson two or three times and then have him play it once more, even if it is only an exercise or a little tune. Having someone listening to his playing will make him feel important and he will try harder to have it perfect. Do not use the word "practice"; it sounds like work and children when picking up their guitar or mandolin want to play.