"Music Teachers Have It All Wrong"

[Steve Marcus]

The following article appeared in the October 1, 2004 edition of the Northwest Herald, a suburban Chicago newspaper. The author, Jon Singer, is a columnist for that publication. The article has caused quite a stir among local music educators. How would you respond?

Music Teachers Have It All Wrong

Fall is here, which means hundreds of children will join the school band for the first time.

Being a musician, and having seen other musicians come and go, I have one piece of advice: Don’t listen to your music teachers.

Unless you have a very unique teacher, you will be taught music theory, scales, and other textbook hogwash until you quit.

Too many music teachers teach techniques, not music. But music is the reason the student is interested.

Instead of learning an A-major scale, music teachers should turn on "Jailhouse Rock" or a modern pop song and show students where their instrument fits into modern music.

Having learned to play guitar this way, I am confident that even a beginner can make some fun sounds within a couple weeks of playing any instrument. This progress makes music exciting. The player wants to practice more so he or she can learn another song.

For instance, when I began guitar lessons back in 1994, I was playing at least an abridged version of "Babe, I'm Gonna Leave You" by Led Zeppelin, "About a Girl" by Nirvana," and "I Won't Back Down," by Tom Petty and the Heartbreakers.

As skills progress, musicians want to learn tougher tasks within songs, like solos, so they can mimic what they hear. That's when scales and technique are honed.

For a horn or string player, I suggest sitting down with a Motown tune or two. Use your ears and play what you hear.

The results of learning the textbook way are sad. I joined band in fifth grade, choosing drums as my instrument. First, they also made me play xylophone, which I had no interest in. Second, I was stuck with a practice pad that mutes the only noise that makes drums fun. Finally, they send you home with a snare drum and written notation to play. Notes for a drummer! Forget about a drum kit, or even explaining a drum kit. I had no idea how a rock, jazz or even a classical drummer would play. I only saw markings on a page and a boring hour of practice. Likewise, my sister, Julie, took at least a year of piano lessons at about age 12. Her teacher taught scales, "Chopsticks" and all the other nursery-rhyme-type songs. Why didn't she learn "Hey Jude?" She could've played it in a week. Instead, years later, she can't play a chord. Even if a school band member sticks with it, practices hard, and excels in college, there's a huge void that I've run across time and again. While they can read and play Beethoven, they often can't improvise or play simple chord-driven rock songs, like Jerry Lee Lewis' "Great Balls of Fire." They've learned all the techniques, but none of the fun and spontaneity of music.

For those who have never had a music lesson, I can compare it to driving a car. Teaching techniques and theory first is like showing a driver's ed student how brakes work on the mechanical end before explaining how to push the pedal to make you stop.

One argument I've heard is that if a musician learns bad habits and improper technique, it is difficult to change that. But I believe in early stages, say, the first six months, it's best to get a feel for an instrument. Once muscles are trained, it's not difficult to change. Second, bad techniques don't prevent music from being played. Sure, using incorrect fingering may prevent a guitarist from playing certain Hendrix licks, but the person still can mow through thousands of other songs with ease. Last, and most important, correct technique means nothing if the musicians quits out of boredom. Making music a task instead of a joy is the biggest mistake music teachers can make.

[RossK]

Elementary English teachers have it all wrong.

Don't bore me with all those mind-numbing things like letters, handwriting, spelling, "Dick and Jane", grammar, sentence structures, verbs, and nouns. I want to read Moby Dick in 2nd grade and write a newspaper column before I'm 12!

With idiots like this "journalist" around, no wonder there are so many guitars, amps, and drumsets cluttering our neighborhood pawnshops.

[scottw]

I think we have hit it on the head when we peg this guy as a guitar player and would-be drummer. With those instruments, you have so many teachers who just try to teach exactly what this guy espouses because it's the easy way to get along with the kids he is supposed to teach. Consequently, as someone offered, that is why there are so many guitars and drumsets for sale. We also know that these "methods" don't do much for any of the other instruments as far as teaching them anything useful about music.
But--- there is a kernel of sense in what the author says, too: We need to be adaptable to including some measure of letting the kids 1) enjoy music amid all the hard work, 2)actually learn some ear stuff and improvise much sooner than we traditionally teach it. Not to the extent the author says--total-- but setting some time aside weekly for some little bit of it.5-10 minutes at the end of a class might be as much as we would need. Might be worth a thought?

[Leland]

Well, on the other hand, imagine the excitement when a kids says, "I want to play trombone!" -- which in any sense is a fun instrument to play, with all the motion and the wacky glissandos available.

So, the teacher sits him down and says, "Okay, now this is an F. Play the note... no, higher... no, lower... yes, that's it. Now, this is a whole note. It lasts for an entire measure of four beats. I'll count four for nothing, then you come in. One, two, three, four..."

If my very first introduction to brass playing went like that, I'd have lost my mind. Instead, my uncle, who still had his trombone from college, showed me how to buzz, how to play high & low, and what happens when I move the slide, then told me to go to the basement and just play around. So what did I do? Well, naturally, I did just like any other kid who learned how to make a new noise -- I blew that sucker until my chops were shot.

I've heard at least one person describe his very first private lessons as a sort of imitation thing. His instructor would play an easy melody, then show him what buttons to push down, and he would repeat. After a few sessions, the instructor began showing him how the melodies were notated -- "Now that you know how it goes, here's what it looks like..." The player said that, effectively, he started out by playing by ear, and can still pick up music pretty quickly.

The movie Mr. Holland's Opus, to me, illustrated how I would have wanted to teach music. During most of my education, there was an impassable rift between "substantive" (read: old) music and current music. Music has always been both deep and shallow -- there's no real reason to say that new music -- stuff that the kids identify with -- automatically has zero value. Yes, I know about the pop music machine, but there are still musicians that put a lot of effort & creativity into their music, and the act of dismissing this music as second-rate instantly perpetuates the high & mighty attitude of the classical/orchestral/academic music world.

I'm inclined to agree with the article. Instead of learning how to play, kids are learning how to avoid mistakes, which is much more frustrating and leaves them prone to disappointment. Why can't a kid just learn right away how to play drumset? They can learn how to finish a game on Nintendo.

[Chuck(G)]

Not directly germane to the topic, this discussion reminds me of Trevor Wye's bio:

http://62.73.167.103/page3.html

[Dan Schultz]

That's an interesting opinion, Steve. I started playing the tuba in the 5th grade (let's see... I think that may have been around 1956) ... and I don't recall EVER learning ANYTHING about theory or even why the horn made the sound it did. I got a fingering chart and an Eb tuba. It was my job to take it home and learn how to play it. I did OK, but almost fifty years later I play pretty good but I know very little about theory. From what I see of most high school students, things are still pretty much the same.

[Doug@GT]

How would you respond?

I'd ask if there's trouble in River City.

[Dylan King]

I don't think Tuba Fats would be Tuba Fats if he had gone through classical training and the university system. Neither would Gene Pokorny sound like he does if he had learned tuba playing for free ice cream.

The teacher should know what the students wants and needs, and give it up. Weather it be copies of Bach Cello Suites or a Pinky-Poo Sticky-pops.

[brianf]

Too many music teachers teach techniques, not music.

Actually this is something like what Mr Jacobs always said - "Music educators are to interested in teaching how to play rather than teaching to be a musician (which takes much longer). They should be teaching the music then learning how to play will develop."

[Joe Baker]

Long post alert
You've been warned.
_____________________________________

Definitely students need BOTH the technical drills AND the experience of making music they enjoy. I'm not the first to express this point of view, but I saw an excellent demonstration yesterday at my son's marching band contest. We heard Boogie-Woogie Bugle Boy played by two different high schools. In one band, the players played it pretty clean technically, but it swung like a rusty gate. No, take that back; it swung like a FENCE (not at all). It was like a dead body; all the parts were there, but there was no life. Then I heard another band (okay, my son's band ) play the same tune. I don't think they played it any cleaner, but it really swung. They weren't playing the notes, they were playing the SONG! The director had taken the time to teach those kids what that music was supposed to sound like, and taught them how to play that style. It showed all over the kids that to the first band it was just some dumb old grandpa song, but to the second band it was audible joy. The lifeless body of a song the other band left lying on the field leapt to its feet and danced. The crowd that applauded politely for the first band was on its feet for the second.

A lot of folks here know that I'm not particularly a fan of orchestral music. I can take it or leave it. I think too many band directors make the mistake of not showing their kids that there is a huge world of great music out there that orchestras don't play (except for pops orchestras, which sound goofy playing 'Saints' or 'Hotel California'). It amazes me how many still want to consider some music "legitimate" while other music is... what? illegitimate?

I play in a quite good community band, and every time the director passes out a piece of show music or medley of patriotic tunes he apologizes like he's asking us to take castor oil. Yes, some of the arrangements are dogs, but some are quite good (a lot of the legit pieces are dogs too, IMHO). In any case, it's not the quality of the arrangement that he's apologizing for. He says quite sadly that we HAVE to play this to please the audience. HUH??? I LIKE to please the audience! People like show tunes -- and I'm a people! I thoroughly enjoy a lot of those "Selections From XXXXXX" pieces, and I take offense that the director -- who in every other way I really do like, BTW -- reacts to these pieces like somebody farted.

My bottom line: teach the scales, but show the student how often scales and arpeggios SHOW UP in the music they already listen to. Teach etudes, but challenge them to play familiar tunes by ear. Make sure they hear Bach, Chopin, Tchaikovsky and Holst, but also make sure they hear Scott Joplin, J. P. Sousa, Ubie Blake, Cole Porter, and George Gershwin. Make sure they hear Yo Yo Ma, Farkas, Pokorney and Isaac Stern, but also Al Hirt, Benny Goodman, Woody Herman, Aretha Franklin, Chet Atkins and Frank Sinatra. Expose them to dixieland, oom-pah band, calypso music, con junta, madrigal choirs and (heaven help them) bagpipe bands. Learn to live with the fact that a lot of them like -- and will ALWAYS like -- drum corps, military marches, heavy metal, and (again, heaven help them) rap. Whatever music they play, inspire them to give it life. Teach them to play not just with their fingers and chops, but with their heart and soul.

Whatever you do, DON'T tell them that music is "not as good" just because it wasn't written by some guy in either a powdered wig or a sweater with patches on the elbows. God gave them ears and a mind of their own just like he gave you. It is the height of arrogance to tell students that their tastes in music make them unworthy. Sure, you can tell them what you like or don't like about various music; but don't try to pass your opinion off as objective truth. It may be more informed, but it's just your opinion!

My son (forgive a father for bragging a little ) learned to play a lot like I did, but better (perhaps because he had more encouragement). He does a mix of playing assigned scales and etudes(30%), and ad libbing or picking out songs by ear(70%). Last year, when marching band started he could barely play a Bb scale on his main instrument, trombone. I (tacitly) thought the director was nuts to take him into the band. But his director has done an amazing job teaching them to play both jazz and more traditional music, and encourages the kids to experiment as a part of their practice. The boy's progress has been stunning. This year he's playing first baritone in the marching band, and second chair trombone in the jazz band. He can play all his scales, plus half of the stuff the Madison Scouts and the Cavaliers played last year (all on either instrument interchangeably). He's taught himself to play several tunes on piano ("no time for piano lessons Dad; I need the time to practice!") His private teacher told me a couple of weeks ago that All-State is within reach on both t-bone AND baritone. Why? Because practicing is fun and interesting to him, so he practices about 3 hours per day!

Teachers and directors: I urge you, make the program about involving the kids in MUSIC, not about involving them in YOUR music.
________________________________
Joe Baker, who will brag further that his boy's band was awarded first prize in the aforementioned contest.

[Dan Schultz]

Neither would Gene Pokorny sound like he does if he had learned tuba playing for free ice cream.

You mean I could be playing for free ice cream? Where?

I got two cups of coffee and a donut for playing at a watering hole for a half-marathon race this morning. I coulda had a beer but it was 8am... a little too early for me! Does that make me a pro? ... or would accepting the beer taken me a little closer to pro status?

What's a half-marathon you ask?.... Well.... Evansville isn't big enough for a full 26+ mile marathon. They would have had to run in circles!

[Leland]

Great post --

It amazes me how many still want to consider some music "legitimate" while other music is... what? illegitimate?

The question that I always go back to is, "Don't people write music because it's fun?"

The entire reason music exists is to express having fun -- even if it's music designed to evoke sadness, because it's an escape from whatever dull drudgery you're having to deal with in real life.

If there's any music bordering on illegitimacy, I'd say that it would be stuff that's written purely for making money. Everything else, though, is written because it's fun, or sounds cool, rad, majestic, tragic, phat, LOUD, sweet, sappy, cheesy, glorious, tender, or any other legitimate sensation or emotion.

To me, then, Metallica's "Enter Sandman" is just as worthy of the label "music" as is J.S. Bach's "Contrapunctus IX". Also, nobody can tell me that Bach put together that ninth variation and groaned, "Ah, whatever, that sounds good enough to sell a couple hundred copies." He had to enjoy how it sounded.

[Stefan]

I am a middle school band and orchestra teacher. Just the other day, the music supervisor for my county was in to observe all the music teachers. The purpose of the observations was to determine if the teachers were teaching the curriculum. It was expected that you WERE teaching curricular material. If the teacher expects to keep his/her job, they better get with the program and do what the county or districts says. With that said, there are certainly different avenues to get the curriculum across. I think that many different techniques should be used, including what the author says. But don't forget, kids, parents, and administrators are going to expect a concert or two at some point. For those of you who have never taught at the k-12 level, the kids just don't learn the music as easily and as fast as we can. Much time has got to be spent on preparing for the concert. It is very easy for some of the other idealistic material to go by the wayside when you know you have to perform in front of an audience soon. Still, with thoughtful planning, you can teach the other stuff.

Stefan


Bloke - I can understand how you feel about your band teacher friend. But he just wasn't "with the program" According to your description, he only tolerated the few who were highly self motivated. The results of his methods were outstanding, according to you. Still, he "left children behind." These days, no children are to be left behind, even if they are not highly motivated.

[Stefan]

Now I see how it is, Bloke. I should have assumed it was sports related.

Stefan

[ThomasDodd]

It would make his tuba playing better, and frankly, he wasn't going to practice his band parts, but he would learn the Star Wars music.

Actually, I suspect playing Star Wars would improve he other playing even if he practiced both with the same level of intensity. Any challange is better than the boring crap a high school tuba get's to see. I still rember playing "Hey Baby" in high school my sophomore year (first year on tuba). Just 2 of us, but the soli was fun. That way a nice change from the 1 & 3 stuff we played the rest of the show. Wasn't hard, other than the 1 octave jump in it, but it was fun. And I practiced that part more than any other since. It improved my flexability, and showed me a reason to practice wide jumps. I would love to play something fun like that again, in a sit-down venue. 10 seconds of fun can make the 5 minutes of boring stuff worth the effort. Only then do you start to notice the import and oportunities for "music" in the other 5 minutes.

[ken k]

I usually make up melody sheets for all the songs we play in my elementary band so everyone can learn the melody and have something fun to play at home for grandma (and themselves).

My goal is to have the kid get the horn out of the case at home and play the darned thing. I don't really care if they practice their scales or not. (well maybe al little). Many of them do anyway. Once the horn is out they usually will try it anyway. We have a scale of the month and if they can memorize it they get a prize, nothing like bribery I know.

BUt I do try to make it fun.

ken k