Performers Shouldn't Be Teachers - Don't be a FAKE Teacher, Be a REAL Music Educator to your Student

[@knightoftheson]

My best teacher was a man who lead a small group of 6-10 high schoolers every Wednesday for four years. he was wise, respectful, and encouraging (among many other utterly positive traits). But the thing that lifted him above other great teachers to me was his willingness to learn along side us. If he didn't know something, he wouldn't BS us with a stupid non-answer. He would say, "I don't know. Let me get back to you on that." Or, "I don't know. Let's take a look." I think that really showed us all that learning something isn't "one and done." It is a process. this method also really empowered me because it was an invitation to discover something that nether of us knew.

[@CupcakeCaper]

Paul, I agree entirely. I lived for a long time in a city of ~150,000 people and so a lot of the 'best' teachers were also the 'best' performers i.e. those that got the gigs with the semi-pro musicials, playing in the backing bands for travelling B-List (typically ex-A list) vocalists whom decided to have a different band in each city rather than pay to transport the same band around the country, and had their own bands that had a fortnightly or monthly spot at a hotel or club. Some of these muso's had as much passion for teaching as they did their playing, where as others (as you say) saw it as a way to pay the bills as there wasn't enough money in playing to make a living. The main difference (as you mentioned) was preparedness. When I took over the role of drum tutor at a number of schools in the area, my main compliment was that I had a lesson plan prepared for all my students before the lesson (including stuff to do if the student got through the lesson quicker) AND II individualised my lessons to every student. The previous tutor had just worked through the same book with every student, at the same rate, despite some students progressing a lot quicker than others (as some students had kits at home and practiced 1 hour a day, where as others had to play at school and maybe got 30 minutes of practice a week outside of lessons except for practice pad). I was so surprised to learn this, as the teacher I was replacing was a VERY respected drummer in the community... a few years older than I was and I tended to be getting the gigs for a session muso that he wasn't available to fill, or that had a 'percussionist part' (as my music degree was in a classical stream, I had Timpani and Mallet chops as much as drum kit). I quickly learned that my colleagues attitude was that they start their student doing warm up exercises while they plan the lesson/photocopy material/etc. (often in a different room out of earshot of the teacher) and then start actually teaching... often after half the lesson time is over. I wouldn't DREAM of going into a lesson with all the material ready in advanced, plus extra incase we worked through it quickly. I also gave the students a large say in what they wanted to learn, like their favourite song and drew out a chart for it rather than making them all play the same stuff. I got so many compliments from parents whom had been taught by others, and by the school music co-coordinators. I felt this was really insane, as teaching made up 80% of the money these muso's were bringing in, yet they gave the other 20% the vast majority of their focus and treated teaching money as a "right" that they "deserve" rather than something they needed to earn. You are absolutely spot on with what you say hear. I also found in uni that their were two kinds of lecturers, there were those that were teaching because they couldn't play professionally and those that loved teaching. I learned SO much more from the ones that loved teaching and sharing the art than the ones that didn't like teaching but did it to support their non-existent professional muso career. For example, one lecturer was paid for 3 hours of 'consultation' for students who were struggling with material. One day, the week before an important exam, the students that went for the extra help found her door locked with a sign saying "practicing for my recital tonight, no consultation this week". It probably caused some struggling students to fail... yet she still was paid by the uni for practicing for an (unpaid) gig unrelated to the uni. I helped said students launch a complaint, and said lecturer was disciplined for not meeting her contract... however they kept her on and she now is the Dean of Undergraduate studies... >_< I love both playing and teaching. I see playing as a way of pushing my own musical skills, and teaching as a way of sharing the joy of music... they seem to compliment each other... I don't get why more muso's don't feel that way... why they feel 'above' teaching. Props for your video!

[@torressavage2259]

Very informative and a timely message! I spent the past few years learning from professors who clearly never intended to teach. That sucks the life out of an entire program. The choir director was the only one with an education degree that stayed and she was the best instructor I've had. An equally talented musician and educator that brings out the best in everyone she works with.

[@torressavage2259]

Paul Gavin Nope, I dropped out last year. I was pretty much finished with my music courses, the education department was just as awful lol.

[@BLANCOYNEGROFILMS]

Great advice man, your content is awesome. Thanks for all the knowledge!!!

[@ryanhiers5123]

Awesome Paul! One of my best performance teachers was truly both. I highly encourage the separation of teaching and performing, as disciplines. I've seen it, and it works. Keep it up!