Tone has another side that’s too often missed, hence this post. (Part I is the previous post on this blog.) What happens when we dictate everything we want as teachers for the student, and don’t notice our own tone in the process? What happens when we demand things from the parents of our students if we overlook their overloaded, overworked, stressed, or just plain ordinarily tiring lives? Our message gets lost, is what happens.
As teachers we should not only deliver great content, but we have to become aware that students are human beings with lives and needs extending far beyond what we see in the lesson. We don’t need to know everything about them; however, what we often struggle with is remembering to consider that our students and their families have demands on them, needs, expectations and lives going on outside of their instrumental music-learning. Life is messy. Students and their families are not spared from this.
So instead of rushing to a conclusion about why a student isn’t progressing the way we hope he would–or even worse, asking him to leave our studio—let’s try to be aware that there are reasons for everything, including our interpretation of poor progress. Let me first consider my own tone: am I really aware of the person I was hired to teach? Is my tone coming from my ego, hoping to serve my wish for wonderful, hours-long practicing, unfailingly devoted, competition-winning students (to make me look good), or is my tone coming from a place of kindness and love?
Obviously, there is a time and a place for being firm with students and standing up for standards in our teaching and for ourselves. That isn’t the tone I’m talking about here.
We teachers occasionally forget we are not teaching in a vacuum, and the tone becomes one of “I think this, therefore everyone should also think the same.” This happens when we don’t bother to re-read or revise what we wrote, nor attempt to put ourselves in someone else’s shoes before posting. It is even a possibility that we choose to refrain from posting something at all, keeping our opinions to ourselves, once we look at our tone from another perspective. Tone matters enormously and it’s something which is all too easy to get wrong or for readers or listeners to misunderstand if we don’t give it a second thought. Heck, it’s still easy to be misunderstood after four or five revisions.
My advice for prospective students would be to take some time to look up public threads where string teachers discuss their work and form their own opinion about what sort of tone they would want from a teacher. I tell people all the time that they should find a good teacher, but first try to find out their personality before making a long-term commitment. Will it be a teacher who has the ‘my way or the highway’ approach, or will it be a teacher who’s willing to meet the student where the student is right now?
Tone is also reflected perfectly in how we engage with our fellow teachers. We most certainly aren’t alone teaching in the 21st century. Wherever we reside on this planet, we have colleagues, when connected to the internet, and even when not. The way we are with each other, with colleagues known and unknown, is a part of our working life.
Collegiality is the idea of making a shared working environment both amicable and productive, as well as somewhere we’re able to listen and be listened to. In other words, tone is also the way we use words when we talk to or write to each other. (Read more about collegiality in the corporate environment here >>Collegiality.) Are we going to rely mainly on socially acceptable yet rather impersonal e-communication or would we rather set the tone of approachability and welcome a conversation?
Appearance isn’t everything
Although we’re told that appearance is everything, what we look like and what we show people (also online) is not who we are. How we look is just the box that delivers a present. Have you ever received a beautiful present, wrapped with fancy, colorful paper, tied up with a gorgeous bow, and got disappointed by what was inside because it was something unequal to the outside? To put it another way, our tone is what people discover when they open the box.
Think about the saying, “People forget what you teach them, but they never forget how you made them feel.” Some give people doubt, anger, overload, and fear just because they lack awareness of their tone; others give the opportunity for joy, beauty, hope, and kindness. Tone is that ethereal, exquisite thing that shows the world who we really are, whether coming from our instrument, from our voice, or even from the words we choose. So, we really need to take the time to re-read any text we plan to give to our students or their families, or even what we (might) post on social media.
Someone long ago posed a few questions to ask before posting online, which bear repeating or even placing on the wall next to our workspace, because they’re useful for all sorts of communication. These are certainly worth framing!
Would I say it out loud to someone? (Would I speak this way to my mother?)
Though we’re living in the information age, it’s more like we’re living in the TMI-age (too much information age), so wherever we can squeeze the best out of our tone to streamline it, make it kinder, more accurate, and more relevant, we should do it! If we want to grow into our best teaching selves, our tone needs to reflect an awareness of others, as well as serving our own teaching needs. The above questions can help guide our message and our tone.
The thing is, each one of us can choose to make the free and conscious effort to improve our teaching tone and grow into being the leader that teaching requires of us. Let us learn to be kind and creative, with our voices and our instruments, using the thoughtful tone our students need most.
If you haven’t grabbed your September Museletter yet, swipe yours here! >>Museletter13
Tone is probably the singular most powerful category needing our attention in playing and learning violin. When decent, we are happy to hear more; when poor, we want to run away! Okay, that may be a little extreme, because if we are really teaching, we know that ugly tone has a physical, findable cause and it’s our job to apply our experience and patience to remedy it. Now, I know that tone does not exist in a vacuum—rhythm, harmony, melody, dynamics, bowings and more all are necessary moveable parts which we have to successfully teach and learn—it’s just that we can have all these other rudiments in place, but without great tone we essentially have nothing.
WHEN SHOULD I INTRODUCE TONE?
So, when do we approach the topic of tone in our teaching? It can and should be taught early, in one of the first lessons if not the very first one. Kids know and will tell you the difference between nice and not-nice tone if we give them a side-by-side comparison and ask. Plus, there is a very touching reason to bring it up early and often: when a student brings her attention to tone, the student brings her listening awareness to the forefront, and we need this skill and this sense to be developed deeply. Listening awareness is both skill and sense, for the fact that listening can be developed and refined. (We’re born both hearing and listening, though in my opinion hearing is innate and listening is more active–the processing of what is heard and learning from it.) The reason tone is touching is based on our physical sense of listening, since sound is vibration in the air and these vibrations actually touch us—not only coming into our ears but they strike our entire bodies, resonating in our bones, particularly in the skull. If this is a new idea for you, read more about it in the subject of osteophonie (or bone conduction), which is the science of how sound resonates in the bones. There is a whole field of study about how children process sound differently as their auditory systems continue to mature, even into the late teen years which is one of the reasons why they are very clingy and touchy as young kids.* They are actually “hearing” with their bodies more, in addition to using their ears.
I don’t think we can demand perfect tone production from our students in the first lesson or three, but we can demonstrate different types of tone so that the student has an experience and an awareness of it right off the bat, which can be brought up or revisited when it seems that the student forgot to listen to herself. Some of us bring the student’s awareness to tone in every single lesson, as there usually are opportunities each time to do so.
WHAT GETS IN THE WAY
In the course of teaching, there are plenty of reasons why a student forgets to pay attention to tone, though the most gifted and self-motivated seem to be able to grasp the gravity of it earlier and keep it at the forefront more. One of the big reasons a student forgets to listen to tone is that there are so many other things he is told to learn, (bow-hold, bowing patterns, left-hand position, intonation, note recognition, note-reading, nomenclature, rhythm, memorization, breathing…) which in many cases results in listening to tone plummeting to the bottom of the laundry list of ‘things’ in their playing and practicing. It isn’t exactly their fault that tone flies out the window, for during a time span that seems like an eon to them they have to juggle combining so many different skills and aptitudes to establish the rudiments, even when we think we have only given them one or two tasks.
Some of us already approach tone and have people listen for it from day one. Others of us wait, but this results in the consequence that the student may not come around to the idea of really listening to himself for an inordinately long time, to the detriment of possibly not liking the instrument or the experience of learning about music very much.
Are there things we have to teach which legitimately compete with the student’s focus on tone? Probably. Most of us can’t stay on open strings for very long without getting bored, deflated, or crying our eyes out and quitting. So, the grand introduction of the left-hand finger placement is another major tone-displacing diversion for some. Soon comes reading or memorizing or both. All responsible teachers see to it that their students learn to read, in due time, though certainly (or at least hopefully) after the sense of hearing tone is developed. Yet every new aspect of learning to play can cause learners to forget to listen to themselves, so it’s on us to integrate anything new into their growing tonal awareness.
To foster students’ ability to differentiate tone, we might give students (of any age) a chance to hear contrasts, which can be accomplished by listening together to different recordings and interpretations of the same piece while focusing on tone. Even better: take them to a live, in-person concert, where we can elicit growth by asking how a certain type of tone was produced, and how they might be able to do it too. This can also be really effective when done before tackling a new type of bowing.
LANGUAGE ACQUISITION AND TONE
Think of language acquisition, where sounds are heard from even inside the womb, and the baby is born knowing at minimum the sound of its mother’s voice. Tone is what a growing baby uses to learn language for a few years before speaking, and even more years before reading or writing. That is to say, listening naturally develops in humans before speaking words. Therefore, it follows based on human physiological development that learning to hear, create, and differentiate types of tone is naturally something we can give high priority early (and onward) in the education of our string pupils.
Learning to hear, produce, differentiate, and appreciate tone on stringed instruments is remarkably similar to what we do when learning language. Even learning a first or second language, there are development milestones in comprehension and use, the first of which is the ability to understand what is heard. And what is heard is largely tone, organized and punctuated in the unique way of a particular language. The more precisely we learn to listen to these tones, the faster we learn the language. The same goes for the language of strings.
Stay tuned for Tone Part II, coming in a few rotations of the earth!
You can also obtain a thoughtful, beautiful, free set of student reflection pages for 52 weeks for use in lessons (perfect for discussions and thoughts on tone) just by taking the String Teacher Census. It’s also available for sale if you would rather just buy it here >>Thoughtful Lessons Journal.
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I just had a conversation this morning about whether souls are real. There really is some debate about this, because so far it is difficult to scientifically state what a “soul” is. The conversation came about because on Saturday, my husband and I participated in an overnight stay at a Buddhist monastery in Suzhou, called Faluo Temple. The event was organized by “Album of Suzhou”, a wonderful group that is designed to help foreign guests learn more about local culture. We visit gardens and museums and even the homes of some artists. When this event came up, I have to admit I was skeptical. All I could do was pepper my husband with questions about it like would there be sheets for us on the beds, what will we do there, what would it be like? In the end, I just decided to be open to the experience and give it a try to get to know this culture better.
I know, you’re probably asking what this even has to do with saving school orchestra; I will explain the connection soon!
The weather here has become somewhere between very warm like a sauna and unbearably warm if you were to stand out in the sun. Luckily here the rainy season is prolonged, so whenever we get the steamy, muggy uncomfortableness of the summer, a storm rolls in to cool things down. I guess my biggest fear about going to stay in a monastery was that there would be no air conditioning. Well, luckily these are modern monks, and at least some of the rooms were climate-enhanced with air-con.
The first hour or so was just relaxing in a cool common room akin to a tea house, with mats and natural colors all around, very appealing to this Virgo girl! We met some friends we had seen before at these events and several new ones too. The location is next to Tianpingshan in the western area of Suzhou, which we absolutely love anyway and go there to hike when the weather cooperates.
Patrick Qu, the Album of Suzhou organizer, took us on a short hike in back of the temple down a very forested (and slippery) road. There we heard lovely birds in the bamboo forest and saw some moths and butterflies while walking along a clear stream among fragrant hills. There are many beautiful yellowish colored rocks that China is famous for. Some rocks have poems written by Emperor Qianlong about the area are inscribed on them. Apparently he visited this very site six times, so the road leading up to the temple is a royal road.
Next was the dinner, which consisted of simply stir-fried vegetables with a little salt, plain rice and spinach soup. We thought it tasted quite nice, actually. Everyone faces the center of the room, in the direction of the Buddha statue. After the meal we were told to leave the dishes on the table.
Pain reminds us that we are still alive
Then we went to the main room again and practiced meditation for ten minutes, sitting cross legged on the floor. I’ve never been able to sit this way very well, even as a child, so I did my best although I found the position to be hard to bear. Another problem was my stomach. Too many vegetables maybe, or whatever; it was giving me some pains. And pain just reminds us that we are still alive, so I was even grateful for that. (Okay, pain also tells us that something is wrong with our bodies, so we still sometimes have to pay attention to its message. 😉 ) Nevertheless, I kept bringing my attention back to my breathing because that usually helps me to empty my mind. I found it really difficult to do in this environment, personally. People’s phone alarms kept going off, was another annoyance. Why couldn’t people put their devices on flight mode for ten minutes? But it was cool to wear the black robes.
After the ten minutes, the head monk asked for people to talk about their experiences, because really this was just meant to be an introduction to the practice of meditation and Buddhism. Someone asked if he could express in a sentence what Buddhism is. The man kindly stated that it is essentially becoming better, improving oneself, and kindness (which I hope you will continue to the end of this entire blog, because I ask for your help later). Although I am not Buddhist and do not plan on ever becoming one formally, I’ve always gravitated toward these very concepts and strive to live according to these principals. Maybe this is part of why I feel ordinarily so much more at home in China than just about anywhere (although home to me is wherever I am). After some other questions and thoughts, a beautiful musician shared a piece with us.
Another monk came in after this with Tibetan prayer bowls. It was a new experience for me to actually take part in a ceremony, which was really thrilling! This time we laid ourselves on the floor on mats and just received the sounds of the different bowls and their frequencies. One had water in it so he could create a kind of wobbly effect in the sound. Another had a frequency that was supposed to resonate with around the same frequency as our brains. After that, he let people come up and used the bowls on their bodies. (We tried it – we enjoyed it very much!) He even put the brain bowl over some of our heads.
It was said that this activity would help us sleep very well. In truth, Bernd and I did not sleep well at all, but we think it was because we are not used to hard beds. A monk came by at about 4:43 a.m. with giant rhythm sticks to wake us up for a morning ceremony that took place shortly after 5:00 a.m. It was funny to hear him grumbling about how no one was getting up and turning on lights yet and worrying that we didn’t know what we were supposed to do.
During this ceremony there was a lot of singing by the monks, which was amplified and accompanied by a lot of bell ringing and drum beating. We also placed small pieces of wood into a small bowl of smoldering ash, twice, which later caught on fire (on purpose) and burned. We followed the head monk for when to bow and stand and where and when to walk. I enjoyed the motions of the bowing onto prayer pillows. I had always wondered what that really felt like. To me it felt like surrendering all my burdens and thoughts. I wasn’t praying to Buddha, I was praying like I always pray, to the universe, which I consider as a loving intergalactic fabric connecting everything everywhere.
After the ceremony we filed into the canteen for a very simple breakfast of rice gruel, some peanuts and soybeans, dried salty vegetables and baozi (a steamed bun filled in this case with either vegetables or a sweet red-bean paste).
Next was some time in the main room when we meditated for twenty minutes. Again I struggled. The leader this time played some recorded music. I feel certain this was intended to help people to focus but for me it was distracting. I couldn’t move my mind away from it. I brought my thoughts back to focus on my breathing again and again but just could not get away from the repetitive motifs, which I found somehow unpleasant, artificial and loud. (I’m sure that if I were in this environment several times I would get used to it but to be quite honest, I’m glad I have my own practice with either ambient sound from the neighborhood where I live or else a guided visualization that I’ve created or I use one made by someone whose message I love.) A lot of people just fell asleep.
Afterward, the leader talked about the history of Faluo Temple, apparently originally established over 400 years ago as a natural garden, which was attractive to people and still is! We then walked up to the top area of the temple to a huge statue of Guanyin, Goddess of Mercy. Again it was a pleasant reminder that we love to hike in these hills and plan to come again when weather permits.
Soon, we had lunch, again some stir-fried vegetables, rice and spinach and mushroom soup. This time I was seated next to one of the monks, who showed me the ritual of placing the empty bowl and chopsticks in a particular way at the edge of the table at the end of the meal. Afterward we had a rest, and I really fell asleep for an hour or so.
In the afternoon, our friend whose studio we visited on the last Album of Suzhou event, Guo Ai Min, came to the temple to show people how to do a beautiful fan painting. Actually, none of us felt we were to the level of being able to create such a fan, but we all tried to write the words of the poem in calligraphy as practice. It was my first time ever to try calligraphy – wonderful!
Later, at home, we really felt exhausted. We spent some time on the couch being couch potatoes and even ordered dinner in, since it seemed as if it would storm again at any moment. In the morning, the question came out again, what about the soul?
I believe we have souls, or perhaps pieces of a collective soul; I am not sure. My mind tells me that the soul is ever present in us yet is poorly understood. My soul tells me that indeed, it is very real but science is not yet able to measure it, at least not by traditional means. My own soul tells me that music is a connection to souls everywhere—probably this is why it is used in every culture and religion. I say this with a grain of salt, as I haven’t studied every culture and every religion, and I am certainly aware that there are great differences in how different religions use music and make specific regulations regarding its use.
It just drove the point home to me, that music really is powerful, by taking part in this Buddhist ceremony. I really do not mean to criticize this particular ceremony, because truly it was a wonderful moment, but from my personal experience, what the amplification of the chanting did, was to dull the power of the natural overtones. And yet the overtones were still coming out.
We are called to help humanity
What I came away with, and I do not say this lightly, was the reconfirmation (in my life, because I am writing from my own personal perspective, though I hope that at least one person reading this shares this) that we are called to help heal humanity, one ear at a time, starting with our own.
This single statement forms the basis of my life. It isn’t only about making great music, though that is part of it. It isn’t only about teaching students how to play an instrument, though this can be and is also certainly a part of it. It isn’t only teaching teachers how to teach more effectively, though this also makes up an important part of our work. It isn’t only teaching students to understand that music is spiritual, and it definitely is spiritual! As you already understand, there are many reasons why we are string teachers, many of which go against the status quo, yet reasons that give enduring character to our communities and our lives.
Collectively supporting one another in this field is of the utmost importance
But one of the things I think a few of us miss, is the fact that collectively supporting one another in this field is of the utmost importance, especially right now. Studio teachers, I am talking to you in particular (I am one, too). If you are a studio teacher in the USA right now, I am asking for your help. Parents, you can help too.
Orchestra teachers across the country are facing a serious crisis, not only because of COVID-19 but because of the reactions of school districts and decisions that districts have made to either cut programs or threaten students with attending orchestra in person or nothing. A lot of districts put college-track courses at the same time as orchestra class, which places many families in an uncomfortable and unfair bind. I know many principals and superintendents do not know what exactly to do going forward, and the plan that they have is what they think is best (although we know that cutting orchestra is not in anyone’s best interest) that they have come up with, not intentionally leaving people behind.
But every school orchestra teacher who has to recruit is also facing a crisis. Numbers are a fraction of what they ordinarily would be and this is no joke. Recruitment in the best of times is still a significant, often unpaid or underpaid additional responsibility on teachers’ shoulders. Orchestra teachers are just hoping to have their programs survive this coming school year. If there is an occupation which we can give some love to, right now, it is our orchestra teachers.
So what I am asking you, private teacher in the USA, parents, or anyone with connections to families in schools, is to have a conversation. Ask parents, “What is the situation for your school string program this fall?” Ask parents to go to their school board and collectively express that they want to have orchestra in their schools. Yes, I am very seriously asking you to ask them and to help facilitate this. Because if we don’t, who is going to? Help parents save their orchestra programs because I know very well from my own experience that when parents talk, districts listen. It was one of the most important lessons I learned as a school orchestra director in a rural district which by itself would have done away with strings years ago.
If you haven’t built up a relationship with the parents of your students, start now. Also, here is a template you can use or parents can use to fit their school to reach out to their school boards with. Petition to save our orchestra
Another thing I want to ask you for your help with is to reach out to the school orchestra teacher in your district. I want you to tell them you are here for them and support them (even if it has never crossed your mind before to do so). We need them very much! You might not think you like them, you might see them as competition, you might disagree with what they have to do to run their classes, you might have a lot of reasons why you might not want to do this.
We need orchestra teachers to be supported
But we need thriving string orchestra classes in order to give many young people a chance to experience music, both now and in the future, and not only the ones in our studios. And to have programs that even survive, we need all the voices available and willing to come forward to take a stand on this. We need orchestra teachers to be supported to help them through this dark night of pandemic.
We all know that not all kids who become great musicians (or even just competent ones) do not come from rich enough backgrounds to be able to afford private lessons. The least we can do is have compassion for the string teachers who have devoted themselves to the public service of teaching school orchestra. These people have my utmost respect and I hope they have yours too, for what they provide society overall and the impact on their communities.
We can work together, and we need to work together on this, private teachers. I know many of us have had a boon in enrollment due to people being stuck at home. It is time now to see beyond our own studio walls and support the bigger picture, extending our love, support, charity and hive mind to the future of our public-school music students and their teachers. Reach out, if only because my big-picture enhancing soul implores you to do so.
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Three Easy & Honest Ways to Validate String Students
What does that mean, to validate students, anyway?
Validating students shows learners that they are of value, not only as customers, but that they are valuable as human beings. Everyone needs the feeling of validation, and giving this to students costs nothing but attention and a few seconds, yet this practice can do wonders for both learning and teaching.
Read the rest of this article in the fourth issue of a Museletter, coming out in March, 2019! (It’s free, & comes out each quarter.)
Sort out the “gah” and get with the “ja!” Wait, what?Get rid of the extraneous and keep on going with what’s great, that’s what that means.
How could that possibly be relevant to us, as string-instrument teachers or learners? Well for me personally, it recently meant a commitment to solving something that last year seemed unsolvable. In fact last year I just gave up on it, and made a compromise instead, which wasn’t the worst thing in the world either.
This year I committed 100% to finding a place for our student spring recital. Should be easy, when you’re employed in a school. That’s a more or less non-negotiable aspect of the job, in fact! But when you’re a self-employed teacher, this becomes a whole other ball game. Even harder when you are not a church member in Germany.
I suppose if one had cash flowing like a waterfall you could just rent a glamorous concert hall. And truly I hope that will happen with SuperStrings Studio soon so that we can provide an amazing space for super-prepared and awesome students. Right now we are still a young studio, though, and our need for a space is strong, for students to get some experience performing and sharing their learning to a wider audience.
This year was no easier to find a space big enough and appropriate enough but what was different was me. I did not let go of the goal and kept working at it until…a beautiful stage has been offered to us! Yes, offered! And it’s in a wonderful care facility for people, exactly what I envisioned, where our students can share their music and people can enjoy it as part of a wider local community.
The thing I learned is that when you need something, keep asking for it until you find someone who is willing to help.
One of the best things we can do with our lives, is to improve something for others. That’s one of the big reasons for SuperStrings Studio. We help bring joy and connection to families and individuals in an often disconnected world. I hope all of our students will take a few moments, not only to perform their lovely music, but to greet and interact with some of the residents at this home. A HUGE thanks to Rebecca Jones-Buerk and Mr. Joerg Treiber and team at the Stuttgart Pflegezentrum Bethanien!