Category Archives: General

Help! I’ve Lost My Voice!

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As a singing teacher, the last way I wanted to kick off 2015 was with a bout of Laryngitis, but alas, I am finally recovering after nine days without being able to speak, let alone sing. So what should you do if you end up hoarse, or loose your voice entirely?

Stop Talking! (And Singing)

This was my number one mistake. I had a friend staying overnight when my voice began to go, and instead of sadly sending her away, I carried on talking… I’m pretty sure this is why it’s taken over a week to recover.

In order to recover quickly, it’s important to get as close to 100% vocal rest as possible. If you have a vocal problem, then it’s really important to stop immediately. If you can, take time off work. Even if your work doesn’t involve talking professionally, you’ll find it hard to rest 100% if you are in the presence of your colleagues. Same goes for school.

You should also stop singing. Singing is usually harder than talking, and trying to sing when you’re hoarse can make it worse and delay your recovery. Even if it doesn’t hurt, you should still take a few days off. If you’re still wanting to keep up with your music, why not use the time to work on some theoretical exercises, listen to some new music, or even watch a whole opera, oratorio or concert (you can usually catch them on Sky Arts, or there are plenty available on YouTube).

Keep Hydrated

It’s really important to drink plenty to help your larynx recover. Try to avoid caffeine, and sugary drinks. Warm herbal teas may be especially soothing. Alcohol is especially bad because it is so dehydrating (that’s part of what causes hangovers).

The other thing that can be really helpful is steam. I absolutely love it! Breathing in hot steam can be soothing, and will keep your larynx lubricated which will help reduce irritation. Fill a bowl with a kettle full of boiling water, and then cover your head and the bowl with a towel. Breathe until the water stops steaming (usually about 15 to 20 minutes).

Take Care with Medication

Most “sore throat” remedies like Strepsils will not reach your larynx, so are unlikely to help with your problems. Taking anything that acts as a painkiller can dull sensations and this means you are more likely to think you can speak and then injure your voice. Over-the-counter medications will only relieve some of the symptoms by masking them.

Laryngitis is usually caused by a virus, so antibiotics are unlikely to be effective. However, if it goes on for a week or more, it is usually advisable to see your GP to make sure that it is not a bacterial or fungal infection.

Ensure Good Vocal Health

If you are aiming for good vocal health, smoking should be off the table anyway. However, if you are a smoker, this can make laryngitis worse and delay recovery. It may be helpful to use a nicotine replacement therapy to help you avoid smoking.

Recovery!

Hopefully, if you follow the rules of complete vocal rest, your voice will recover. Once your talking voice returns completely to normal, you can start to go back to singing. It is very important not to try to sing until you are sure that your voice has completely recovered.

It’s vital that you take it really slowly. Start with gentle humming over a very small range close to your speaking range. If there is any catch in your voice, stop and try again in the next day.

Once you can hum over a good range, try sirening on a hum, or an ‘ng’ sound to see where there are catches. It may help to start with a small siren over an octave or so, and then increase it a little each time until your whole range is back.

You can then begin to introduce other exercises gradually. It may take three or four weeks to fully recover, but you will be glad you took the time.

So if you’re feeling a bit hoarse this winter, don’t be afraid to take the time out that you need to really ensure you are fully recovered.

For more information, check out NHS Choices for a comprehensive guide.

Finding Traditional Songs

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I’ll be honest. I don’t like trying to find traditional songs! Ever since I read the ABRSM advice and heard about the poor examiner who had ten renditions of ‘Ten Green Bottles’ on one day, I am super keen to find something different or unusual for my students to sing. So, how do you find that elusive song which is both appropriately challenging, enjoyable and unusual?

Ask your students

This might seem a total no-brainer, but with my most recent exam, I asked my student to find a song from her own cultural background and family traditions (Geordie in this case, so not particularly exotic or far flung). This turned out to be a great experience for my student because she was able to spend time with her family learning about their interests and heritage. Singing in a native/family language or accent can be a really positive experience for students too. It’s important to vet the songs to make sure they are not too difficult or too hard, so it may be a good idea to ask them to come up with two or three options if possible.

Browse in strange places

Books of folk songs often show up in places you’d never think to look for music books. Volumes of traditional songs can regularly be found in tourist shops, independent book shops and second hand stores. ‘Music’ shops are actually less likely to carry these kinds of books as they’re often considered to be a specialist market. I’m always keeping half an eye out when on holiday for books and recordings of local songs. Remember, there is no requirement to have sheet music for the song – only a translation of the words if the song is not in English. Audio recordings can be a surprisingly good source.

Find hidden gems on the internet

Audio recordings can also be found online in unusual places, such as university archives. The School of Scottish and Celtic Studies at the University of Edinburgh has an online archive of oral history recordings including recordings of traditional songs. Other institutions have these kinds of resources.

Another good source is IMSLP. Many of the Victorian ‘collectors’ of folk songs published books which are now out of copyright. One example of this is the page of Cecil Sharp’s collections from around England.

Avoid the traditional books

Sadly, while ‘Sing Together’ is a solid text, the songs in it are overused and not terribly inspiring. The suggested songs in the back of the ABRSM Songbook collections are more varied and unusual, but are likely to be frequently used.

The search for the right traditional song can be time consuming, but it can be a gateway for the student to explore their own heritage, that of the country they live in, or indeed the culture and heritage different to their own. A well-taught traditional song can also bring with it enlivening discussions about the fundamental nature of music, and how we came to have the musical traditions that we do in the West.

To Enter, Or Not To Enter…?

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It’s September. That means for all us music teachers, like the children we teach, it’s back to school and back to work. In the UK, as well as abroad, a new term means we once again face the question: do I enter my pupils for an exam this term?

Sometimes, it’s easy to answer. Maybe it’s a last opportunity before a student moves away, or maybe you put it off the previous term to give yourselves a few more months. Your student might even need to take the exam to get into university. For others, it’s more tricky to decide. Here are a few really important questions to ask before you enter a student for an exam.

Have I covered all the material required for the exam?

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If you’ve not actually taught all the material, this should be a big warning light. There can be as little as five weeks between entries closing and the first possible exam date. Five weeks is not enough time to teach whole songs or concepts. You want to be able to spend the time working on refining and improving what your student can already do.

Would my student pass if they sat the exam tomorrow?

This can be a really good acid test of whether your candidate is ready. If you reckon your student could get the pass mark or a little better if they sat the exam now, then you have plenty of time to ensure that not only will they pass, but they’ll do so comfortably, or even gain a merit or distinction. If your candidate is looking ropey, it might be time to push back a term and give you both a little more time.

Am I considering entering them because their parents/they have asked to even though I don’t think it’s a good idea?

It can be really hard to say no to a parent who is keen for their child to excell, but it’s not kind to a student to enter them too early. If they fail, you may crush thier confidence. If they pass, they (and their parents) might gain unrealistic ideas about their abilities. If you are not happy entering them, bite the bullet and say ‘no’.

Would my student do better by waiting an extra term?

Some students will improve massively with more time, allowing them to slowly and surely build towards success. Others will continue to procrastinate until you put a deadline in front of them. Get the measure of your student – are they likely to work hard in the extra time, or do they need pressure? You can wait forever for a procrastinator to be ready for an exam and many of them may give up entirely if you wait too long.

There’s no right or wrong answer about when to submit for an exam. It’s a careful balance between knowing your students, listening to the parents, and forming your own judgements. Make sure everyone has a say in the choice. It’s often easy to give in to pushy parents, or decide you ‘might as well enter’, so if in doubt, leave it one term and see what happens.

Good luck to everyone who is entering candidates this term. I hope they do really well.

I Can’t sing! I’m Tone Deaf!

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Too many people say to me “I’m tone deaf”, but I’ve yet to meet someone who acutally suffers with this disability.

Yes, tone deafness is a real medical condition. Tone deafness is an inability to recognise relative pitch, which is a subsection of a condition called amusia. People who suffer with amusia have some kind of neurological abnormality that affects how their brain processes sound.

There’s a very simple test of tone deafness. Ask a friend to sing or play a high note, and then a low one. If you can tell which note was higher and was lower, congratulations you’re not tone deaf! (If you couldn’t tell, do go and see a medical professional…)

People who have amusia can have a range of problems including being unable to recognise differences in pitch (tone deafness), not being able to remember familiar tunes (like Happy Birthday), not being able to tell whether music is tonal (if it harmonises) or not. Because the brain is complex, this the symptoms can vary massively.

Having genuine tone deafness is like having very severe dyslexia which makes it near impossible to learn to read.

So why do people who can hear music normally say they are tone deaf?

“Tone deaf” has become a colloquial term people use when they’ve not acquired the basic musical skill of being able to hear a note and reproduce it. An person with amusia will not be able to do this because they can’t hear the note. Most people who claim to be “tone deaf” can hear the note just find, but they either aren’t listening to it in a way that they can understand the pitch, or haven’t learnt to listen to the pitch of their own voice.

When we listen to someone speaking, we aren’t always really listening. Have you ever found yourself drifting mentally when someone is speaking and then realised you haven’t heard the question they just asked you? It’s the same with learning to hear a melody. Just hearing isn’t enough. People who are “musical” both hear the melody as a sound, and they hear inside their head – they think along with the melody.

Lots of people learn this skill when they are really young through singing with their parents as children, through attending worship services, or through music at school. Some people don’t, and it’s not that they can’t learn.

Calling yourself “tone deaf” does nothing but convince you and others that you can’t learn musical skills. This is nonsense. Everyone who has learned to speak and listen has musical awareness – pitch and rhythm are part of language, and you use these skills every day. Even babies can tell the difference between sounds that clash (dissonant) and sounds that harmonise (consonant).
If you still think you’re genuinely tone deaf, make an appointment to see your GP, and get checked. You don’t want to be missing out on opportunities if you’re not!

I’m Convinced, I’m pretty sure I’m not actually Tone Deaf – Can I Learn How to Hold a Tune?

Yes! The simplest way to combat a lack of musical awareness is to get making music. Join a choir, take up an instrument, listen to more music, sing along to the radio! If you have kids, why not join a parents and children music group. There will be loads of opportunities in your local area to make music with others, and the more music you make, the better you will get. There’s also various online games and even a MOOC on musicianship skills on Coursera, if time is pushed.

Whatever you do, stop saying you can’t, because that’s the biggest barrier you face.

Have you ever thought you were tone deaf? What convinced you that you were, or weren’t?

Why I’d Rather Clean the Toilet Than Practice (Some Thoughts on Priorities)

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After my cold-of-doom which inspired the post a few weeks ago, I have been slowly building back to my normal routine. Or, possibly, a new and improved normal routine. When you get a cold that results in taking steroids for your asthma, it makes you reconsider what is important in your schedule and how you can prevent yourself from having to repeat the experience. I’m try to focus more on the important things, and worry less about the urgent, but not important things – the things I can let go.

One of the things which is important to me is music (duh!). I want to make more time for practice, but it always seems to drift down to the bottom of my list, somewhere below cleaning the toilet and taking out the bins. The question is, why is that? Why don’t I value my practice time more highly, so it’s at the top of my list?

As I began to think about this, I had a startling revelation: what if I don’t practice regularly because it’s too much like having fun.

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See, my to do list is usually arranged so that the “horrible, but necessary” tasks are higher up the list than the “fun, frivolous” tasks. Doing the washing up comes higher than watching the latest episode of my favourite TV show. Calling the utility company comes higher up than calling my mum.

If practicing is so onerous, and so much something I don’t want to do, why doesn’t it come higher up the list? If it’s so hard to practice, and so boring, why will I take out food waste before I’ll sit down at the piano? Perhaps it’s because I actually like practicing!

Maybe sometimes I’m not practicing for the same reason I don’t eat chocolate every day – I don’t think I should be allowed. But, here’s the secret. Practicing isn’t like chocolate. It’s much more like eating a rich, ripe peach – sweet and juicy and it shouldn’t be good for you, but it is! Eating a whole punnet of strawberries seems luxurious, but I bet most doctors would rather we did that every day than eat so much ice cream, or even pasta.

We can get so busy doing other things – the things which feel urgent, or which seem pressing. It can be easy to say that music practice doesn’t matter because it’s fun – it’s a thing we do for pleasure. But can we really say that because something is pleasurable, it’s not important? Music boosts intelligence and memory, it calms our minds, it releases hormones that make us feel happy. Aren’t these things worth something?

Image from Robert Couse-Baker on flickr

Surely, the things at the top of our to do lists should be the things that make us alive. At the top of our lists should be the things that make life worth living. Yes, we need to clean so we don’t die of food poisoning, but that isn’t why we let all the pleasurable things slip down the list. We let them slip because we worry that we aren’t good enough – our house isn’t clean enough, our inbox is too full, work is left undone. We worry we’re letting others down, and we’re trained not to put ourselves first.

And yet. Will we really call our lives a life worth lived if we hit “Inbox Zero” every day, but at the cost of the things we enjoy?

Perhaps it’s time to reconsider how you manage your to do list (be it real or imaginary). Perhaps it’s time to say it’s ok to do the things that give us pleasure. Perhaps, it’s time to let music practice come before the washing up from time to time. I know which one I’d rather be doing!

Oh No! I Have a Cold!

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I’ve had a cold this last week. It always feels ironic to say I’ve had a cold in May, but there you are.

Times can be tough for singers when viruses run rampant through our respiratory system, making it hard to breath and sing. Here are some tips to help you make it out the other end without damaging your voice or missing too much practice.

Managing your practice

It can be frustrating to have a cold when you need or want to pratice! The good news is that so long as it doesn’t hurt to sing, you can keep on practicing. If it hurts to sing or makes you cough incessantly, then stop.

Of course, just because you can practice, doesn’t mean you want to practice. When you have a cold or are suffering badly with allergies, it can be hard to be motivated to do anything, let alone the “work” of practicing. Somethings that might help make it easier:

Plan a couple of very short practices rather than one long one
Pick songs you know well, rather than working on anything new and challenging
Avoid songs which require long phrases without breathing or which push your upper range
As soon as you start feeling better, try to up your singing practice little by little back to your normal level to help build up your strength.

If you do need to take a few days off singing, why not use that time to listen to some classical music or podcasts. Try the BBC Radio 3 Composer of the Week as a starting point. If you can’t sing, but are up to doing written work, why not have a go at some theory exercises, or try some online flash games that might help you with your musicianship.

Coping with performance

If you have a performance coming up, sometimes you have to suck it up and get through it. Unless you have lost your voice, it hurts to sing, or singing makes you cough, you should be ok to push yourself. If you can, try to take vocal rest in the days leading up to the performance rather than doing a lot of practice (a good reason to make sure you are ready long before the date for any performance). Make sure you keep hydrated. You can dose upon over-the-counter medication and traditional cures if you need to, and rest your voice afterwards.

Traditional cures

The best kind of cold cures for singers are the traditional cures of steam, hot drinks and citrus. Steam helps clear your sinuses and will soothe the headache that comes with a cold. Keep hydrated – honey and lemon is great for a sore throat, and citrus-based fruit teas are great too as they don’t contain caffeine. Citrus, ginger and honey all have properties which are good at helping your body fight off colds.

The other important thing is rest – take time off and let your body do what it does naturally. Your body is perfectly capable of fighting off a cold, so give it a chance! One day off work to let your body heal faster is going to be far better than struggling through and not giving yourself a chance to recover.

Over-The-Counter Medication

It’s perfectly fine to use over-the-counter medication to help with a cold, but beware that they only treat the symptoms, not the virus which is causing them. Your symptoms are largely your body’s response to the virus – trying to kill it off before it can do any real damage. Fever, coughs, sneezes, and snot are all part of your body’s natural defences, and by stopping the symptoms, you are reducing your ability to fight them off.

The only medication which comes with a word of caution is anything that has a painkilling element, especially if you are using something that numbs your throat. If you are ill enough that you need to take strepsills or paracetamol, take care when singing because it won’t be so easy to know if something hurts and you should stop. I would generally only recommend singing after taking throat lozenges in dire situations (e.g. a performance you can’t get out of) as you could do more damage than good.

When to See Your Doctor

The NHS recommends that you should only see a doctor if you still have a cold after three weeks unless you have another condition which might be aggravated by the cold (e.g. a chest condition). It is unlikely a doctor will be able to do anything for you anyway, as colds are caused by viruses and there is not really any medication that we have that can kill the virus. Antibiotics will be completely useless as they only treat bacterial infections.

Having said that, if your cold is so bad it is seriously affecting your singing for a week or more, it may be advisable to see a doctor just to confirm that you do have a virus and nothing more serious. Always tell your doctor that you sing, and make it clear if you have any upcoming performances.

As for allergies, you should work with your doctor to find a good antihistamine. These won’t affect your singing, but will make it much easier to practice!

So there you have it. If you’re a singer suffering with a cold, take time out to rest, try to sing if you can, but make good use of your time if you can’t.

What tips do you have for singers suffering with a cold or seasonal allergies?

How to Find the Right Choir

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Finding the right choir for you can be tough, but as I’ve said before, joining a choir is a great way to improve your singing and musical skills. Here are five really important questions to ask yourself before you start looking at the myriad of options available.

How Does the Choir Learn the Music?

Some choirs use sheet music, while others learn “by ear”, or more accurately, “by rote”. Using sheet music opens up a range of more difficult (dare I say, interesting) repertoire than can be learned just by listening and repeating. It also means things can be learnt more quickly. If the choir uses sheet music, you will get a real boost in your sight-reading abilities. However, you want the choir to challenge you, but not leave you behind, so ask the director if you can find out more about what kind of repertoire you’ll be singing and how fast you have to cover it.

Do I Have to Audition?

A good number of choirs audition, and they auditon for lots of reasons. Some want to check if you can keep up with the sight-reading needed. Others might be looking for a particular vocal sound. The most prestigous will want the whole package. You might find a choir auditions sopranos and altos, but doesn’t audition tenors as they’re a bit short handed. The size of the choir will give you an idea of how difficult the auditions are to pass, and you should definitely ask the director what you have to do and how formal the process is. You might also ask how many people are successful, and how many are turned away too.

What kind of music do they sing?

There’s a choir for every genre of music, but the main types you find are traditional choirs (singing classical music usually with sheet music), pop choirs (singing contemporary music learned by rote) and church choirs (singing religious music, usually with sheet music). You definitely want to look for a choir whose music you enjoy, so why not go along to a concert or service to hear the choir and decide if you like the general kind of music they sing. You won’t like every peice, so consider the overview more than the specifics.

Sopranos

What kind of performance do they give?

The TV show Glee has led to a rise in the “show choir” in the UK. There are now more and more choirs who really go to town with their performances including dance and costume. Some choirs are more sedate, going for some swaying and clapping. Others are much more formal and just stand with book in hand. Think about what is most comfortable for you. You should be able to find out about this easily.

This is also the point to consider if you have any mobility or health issues that might affect your ability to stand still for a long time etc.

How much does it cost?

Some choirs are free. Some might even pay you to be part of them (church choirs, for example). Others charge a membership fee to cover the cost of the musical director and accompanist, hall hire and books. There may also be charges for loan of music or buying choir t-shirts. You should ask what costs are entailed, and make sure that you check about extras, not just the membership fee. If you do have to pay, ask about the arrangements for leaving the choir – do you get money back, or can you only leave at the end of a subs period?

Useful Websites

Here are a few directory sites that might help you find a few choirs to try:

http://www.choirs.org.uk/home.htm
http://www.bbc.co.uk/sing/findachoir.shtml
https://www.nationalassociationofchoirs.org.uk/

Are you part of a choir? What kind of choir is it? How did you find it?

8 Tips on How to Behave at the Theatre

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Ever wondered how you should behave at the theatre? Well, here’s a beginners’ guide based on my most recent trip to the Edinburgh Playhouse…

1. The overture is just background music. It’s just there so that you don’t have to talk to your friends in a silent room while you wait for the show to start. Same applies to the Entr’acte.

2. Letting your phone ring during the performance just adds to the music and makes the show more dramatic. There’s nothing quite like the tension created when everyone starts looking for the ringing phone.

3. Leaving your phone on vibrate creates a really fun game of “where’s that coming from?” for the people sitting around you to play during the boring bits. Everyone will really appreciate your efforts to make the show more interesting.

4. In a musical or opera, the spoken dialogue isn’t part of the show. It’s a nice pause for you to have a cough, or chat to your friend.

5. Everyone in the theatre loves to know what all the other people think about the show, so you should keep a running commentary going to your friends.

6. It’s really important to let everyone know that you have the best possible sweets by buying the ones we the really rustly plastic and opening them up at the quietist possible moment.

7. Moving your head around all the time means the people behind you get to have a nice stretch and shuffle too as they readjust to make sure they can see. You should do this regularly to help your fellow theatre-goers stay healthy.

8. If you have a really bad cough, it’s much better to let it all out. It’s really uncomfortable to hold back a cough, and your neighbours will be really glad they caught your germs because they didn’t want to go to work tomorrow anyway.

…

Ok, so maybe that’s not the best way to behave. Instead, here are some key tips that mean everyone in the theatre including you, the actors, the musicians and the rest of the audience are able to really enter into the moment and enjoy the show:

Listen to the overture and the entr’acte. Just because you can’t see the musicians doesn’t mean they don’t deserve respect. Plus, the composer has constructed it to give you a flavour of the music to come.
Switch you phone off or to silent. Vibrate makes a really, really loud noise in a quiet room!
If you need to cough, talk or rearrange your position, try to do this at the end of a scene while nothing is happening, or during the LOUDEST points of the music.
If you’re coughing or sneezing so much you can’t do this, don’t go. Or at the very least, ask to switch seats to sit to the end of the row, so you can slip out to have a coughing fit and then sneak back in again.
If you must bring snacks, bring sweets which are unwrapped and preferably, switch them into a box before coming so you don’t even have to rustle the bag.
Remember, in the theatre, the actors are putting on a performance for you. Imagine if they were your sibling, parent or child – how would you want the audience to behave? Model that behaviour by being quiet and respectful during the show and applauding really loudly at the end.

What are your real bug-bears at the theatre? And is there anything you’d add to the list of good ways to behave?

Should I Join a Music MOOC?

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MOOC [mook] n. massive (or massively) open online course: a usually free online course open to anyone and potentially having a huge number of enrolled participants.

Anyone here taken a MOOC? I have just completed my first two MOOC courses with Coursera, one of the major provide of free online courses. The first course was run by the National University of Singapore and called “Write Like Mozart: An Introduction to Classical Composition”. The second “Songwriting” by Berklee College of Music. I was surprised at how much I learnt and how creative each course was in its design.

What Kinds of MOOCs are Out There?

MOOCs come in two main types – scheduled and self-paced. Scheduled MOOCs are modelled on traditional distance learning, so they begin and end on a specific date, and usually release course materials one week at a time. There are real deadlines for completing quizzes and assignments. Assignments are usually assessed by other course members. These courses often offer free Statements of Accomplishments or paid certificates. The main providers include Coursera, EdX, FutureLearn and Open2Study.

The second type are self-paced courses. These courses are available to start at any time and all the materials are available right from the start. You can complete the tasks at your own pace. Some courses do have final exams (e.g. Saylor or ALISON), while others provide no proof of learning or tests (OpenLearn, iTunesU).

What Kinds of Skills Can I Learn?

Most of the MOOCs are bent towards maths and science, but there are an increasing number of humanities MOOCs beginning to crop up. This includes music MOOCs. Most of the MOOCs about music are focussed on music theory, harmony, composition, and music appreication and analysis. A music MOOC would be a good place to revise for Grade 5 theory, or to begin to explore composition in a guided setting. For a full list of music MOOCs I have found online, head over to my Recommended Courses page.

How much time will it take?

Most scheduled MOOCs will take about one evening a week to keep up with. Some need a bit more, others less. Most providers will display the time they reckon it will take on the course page. For self-paced courses, the time is more flexible, but if you want to make it through the whole course, you should set aside an evening or a lunch hour each week to work on the materials.

So what did you think?

I really enjoyed my MOOC experiences. I found them challenging and inspiring. It was great to get some guided experience in composition, as I haven’t studied this much before. I’m really keen to go on and take a few of the self-paced courses now, like Voice-Leading Analysis from OpenLearn.

So, why not explore the kinds of MOOCs you could take to learn more about music?

Have you taken any MOOCs yet? What did you think? If you’ve taken any music MOOCs, why not link to them in the comments, and I can add them to my recommended courses page.

Why I Love Teaching Adults

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I wrote a post a few weeks ago about why I like teaching kids, and there are a lot of reasons. Now, it’s time to tell you why I love teaching adults!

Adult voices are settled and ready for intensive training

Once you’re in your mid-twenties, your body has settled into it’s adult state. This means that adult voices are more stable, and can be trained more intensively. That voice is also the one that adults will have for the rest of their lives, so it’s much easier to work into developing that persons’ particular vocal range and colour to develop a repertoire that will last a lifetime. As a wise blogger recently said, a true soprano prodigy is about 24, not 12 – adult singers are in the best vocal form of their lives!

Adults are more regular practisers

Most adults don’t take up music because their mum or dad thought they would be good at it. They take it up because they chose to invest their own hard-earned cash in a new hobby. When you make the choice to spend your own money on something, your work ethic goes up massively. Even students who work in very demanding jobs seem to find far more time for practice than kids who finish school at half-past three and have only a few scraps of homework to do.

Adults ask great questions

I love the conversations I have with my adult students. We can start off on one topic and end up somewhere completely different. I rarely explain the science of harmonic sequences to kids, but adults love to know not only what is right, but why aspects of music theory work.

Adults constantly push themselves

Kids rarely have any idea of where they’re going with music, and although some get frustrated with their progress, most of them are happy to just enjoy the journey. Adults, however, tend to have goals in mind and are constantly measuring themselves against other people, and their own existing achievements. In music, this means the best adult students are always pushing themselves to do better. It’s actually really nice to sit down for a lesson with an adult student and find that they have made startling progress, or to be able to praise them for their hard work (rather than nag them because they’re not getting better!).

Adults are partners in their lessons

The adult students that really are a joy to teach are the ones I have who are partners in the lesson. They invest in their learning by coming up with ideas, asking questions and sharing their insights. Kids see their music teacher as an authority figure, and either obey or play up. Adults are much more likely to view their music teacher as a mentor, guiding them rather than leading them.

Adults are often more rewarding to teach than kids because of their higher personal investment levels, but I love teaching all my students, no matter what their age or stage.

Are you an adult thinking about taking up music? If you’re thinking about it, why not contact me to arrange a consultation lesson? It’s never too late to take up music!