Is Practise Really Necessary?Sarah Stiles, News & views, European String Teachers Association
The other day while talking to a friend's eleven year-old daughter, I asked which particular instrument she was learning lately. A few months earlier she told me that clarinet, flute, piano and guitar had all been tried, but that she obviously hadn't yet found 'her thing'. Before she could answer however, the mother interjected rather grumpily that she had stopped her instrumental tuition because "what can you expect from only five minutes a week practising?" She swiftly added, "I mean, you're not going to get very far are you?" This statement, accompanied by a look of cynical amazement set me thinking and I realised that I felt so completely different about teaching and learning that it was equally obvious to me that you wouldn't take a child out of instrumental tuition on the basis of the amount practised or even the expected standard that 'should' have been reached. The daughter in question was in fact very musical and seemed to be able to function happily on those five sparse minutes per week.
Whilst the title of this article was meant to arouse the curiosity of readers, there is actually quite a serious undertone attached to the question of whether practise is really necessary. Of course if you are going to get on seriously as a player on any instrument, a certain amount of practise and groundwork in lessons is essential. But should we perhaps think through our objectives and attitudes to teaching and adapt them to different types of pupils and their unwillingness or in some cases inability to practise? What are our objectives and are they the same for both students and teachers?
From very early on in my teaching career I have been fascinated by why certain students don't, won't or can't practise. As most teachers (and parents) are faced with this phenomenon at some time or another, it will probably be a subject discussed, argued and reasoned by all parties concerned for many years to come. My particular technique as a child was to divert the attention as quickly as possible away from the impending question of whether I had or had not practised. I was very good at it and as a previous 'master' of getting away with it when I felt like it, can sniff a good story a mile off as a teacher now.
So what are some of the top 10 excuses for not practising?
1. I didn't have time
2. I lost my music
3. I mislaid my music but just found it again
4. I broke a string/reed/valve/spike/music stand
5. My cousins came to stay and I had to share my room
6. I cut my finger (pupil shows plaster on finger)
7. I was really ill (accompanied by suitable look)
8. No verbal excuse, just a shrug of the shoulders
9. As above, plus guilty expression
10. Tears...
Perhaps more importantly are the real reasons that lie behind these brilliant excuses dreamt up by generations of students year after year. Having first taken a good look at the suitability of the material being used, why students don't practise could be for the simple reason that they do not know how! For some, practising (and playing) comes easily. For others the whole process is baffling and for this last group much time can be spent aimlessly in front of a music stand. Attempts are made to study what is in front of them and pieces are played continuously from beginning to end, including any mistakes that happen to make their way into the music. Without realising, they have incorporated mistakes as a permanent fixture of the music but yes, they did do that half hour as requested! Some students won't even get this far; they are already bored with the whole process, which of course is not surprising. It may not be enough just to say 'practise what you can't play, not what you already can!
And what of the category of pupils who just do not feel like practising? The category that like to come to lessons, hardly ever practise but still seem to enjoy playing and surprisingly make progress, be it perhaps not particularly fast? Here much depends upon the aims and desires of the students and those of the teacher, and it is here of course that most conflicts occur. Is this pupil a talented individual who could go far? Is it a waste of time to let this person squander their talent? Does the frustration of the teacher/parent spoil any enjoyment that the pupil could have had? Does it matter if a pupil wastes their talent? Is it enough for both pupil and teacher to just 'bob along'? These many questions will get varying answers. One option is that the pupil could come first and decide his or her own future - even if it is a very different scenario of what 'could be'. If the enjoyment and enthusiasm is there (experienced by both teacher and pupil of course), then I do not see any harm in slow progress resulting from a lack of practise. Sometimes pupils will be stimulated into practising by coming up against their own technical limitations in a piece that they really enjoy playing. This is a teacher's ultimate challenge. Sometimes students are happy with the way they progress, see it as an 'enjoyable pastime' and look forward to their lessons. It is crucial however that the parents of any children involved should agree with this way of thinking, not to mention the financial elements to be considered... The results can be that these students are potentially able to take their playing further in adult life, in whatever form.
'In whatever form' leads me to the subject of Amateur Music. There are so many duos, trios, quartets, ensembles, groups and orchestras out there, all of which are a great source of much enjoyment to many players. Many amateurs do not practise but before I am shot by one of them many of course do! Those who do get irritated by those who don't and so flows the eternal battle of who does and who doesn't. Conflicts can erupt as a result of the differing standards and can get in the way of ensemble playing. However, once settled into a group of similar standards, goals and aims, the pleasure of playing at any standard can be immense. Some of these amateur players were thrown out of their previous instrumental classes because they didn't practise (and of course often bitterly regretted it). Some stopped their lessons themselves, could have gone further if given the chance and could have played amateur music to a higher standard. This seems to be one of the frequent disappointments amongst amateur musicians. That not only did they not do their best, but nor did their teachers. Amateur music plays a large part in the lives of many players. Perhaps we should bear in mind more often that educating our children and teaching them to play musical instruments does not necessarily have to lead to a professional career.
My own way of dealing with pupils who do not respond well to conventional methods of tuition or seem unmotivated in general, is to introduce them to the world of improvisation. It has good results and appeals to the 'getting away from it all' feeling which they seem to need occasionally. Students discover a new sense of liberation in their playing as a result and it also allows them to experiment with some technical aspects of playing without the pressure of it having to work. They can play around with ideas and sounds and often start to feel more comfortable with their instruments. Mixing this with conventional methods seems to work well. As for the subject of practising, introducing improvisation and its inevitable resulting relaxed side of playing, can have a beneficial effect on the willingness to practise. Pupils are often encouraged in a natural way to be more inventive in all areas of their playing, practise included. But in a conventional way, explaining the process of practising and how to tackle certain difficulties in a practically way will almost certainly help solve any problems in any teaching practice. Hopefully, any potential agonising or aimlessness in front of a music stand at home will be minimised.
Whilst not wishing to sound flippant and take the position that no one ever need practise, I would like to put forward the idea that you can still enjoy music if you don't. Perhaps for some this is enough. For many it is unacceptable. Pupils have the ability to set their own standards, I could even go as far as to say each pupil has the right to set their own standards in certain situations. Some get help from parents in practising sessions, some don't, some enjoy it and practise a lot, some can't at all and some just when they feel like it. Many pupils seem to be able to progress with the minimum of effort. What can be dangerous is going through the motions of obligatory practise. If it's not working, it won't be kept up for long. If you can get the most out of what there is - with or without much practise and all concerned are happy with the situation, what's the harm in it?