when the student is ready...

[drumvsbass]

Hello fellow TBers,

I am about to start teaching.

What are some of the things that you would look for in a teacher?

Credentials, skill, experience, personality etc.

I've been playing now for 31 years, have toured and recorded in many types of musical settings, and have at least a few tricks up my sleeve and information that I think is of value to other players. But what I see a lot of teachers gravitating towards is the old stock way of teaching where there is a focus on trying to mold a student into what the teachers idea is of a well rounded musician as opposed to them finding an original voice.

An example, I was working at a music store, I sold an older gentleman a short scale bass due to him have some arthritic problems with his hands. He told me that he was really finding it difficult to reach that one finger per fret idea that his teacher was trying to get him to accomplish. I asked the gentleman what he wanted to play and he said he just wanted to be able to play a basic polka with his wife who was an organist in their church. I showed him what 1-5 was (which his teacher had never shown) and the basic concept of what that 1-5 meant in context of a polka (in relation to dancing, and breathing) weeks later he quit lessons and thanked me for showing him what he really wanted to know, which was simply how to play a basic polka line. I told him if he had any other questions to find me at the music store. Now ratchet that up a few notches and that is what I would like my teaching style to be.

Does this make sense? Is this of any value? Would you pay $50 for an hour of my time to show you what I think you could be focusing on to achieve what it is you're seeking as a musician? I'm not necessarily looking for long term students. Although it's a solid business model, the idea of showing someone the Gmaj scale in 3rd position for weeks on end, or trying to force a student to do something that is going to be of little benefit on their own personal musical journey, sounds kind of like hell to me. A waste of the students time as well as mine. Considering that wealth of knowledge that is freely available on YouTube (playing Gmaj in 3rd position), I figure that experience as a working bassist is my main offering, and my credentials of being a bit of a maverick musically the other.

Also, i'm charming as heck

 

[reddog]

I've been a language teacher for 20 yrs.
I think I do it right when I ask what a student's goals are.
I also know to have an action plan of my own... I've been there, I know a good path.

If you are truly selfless, I would combine your instruction with structured Youtube education
(talkingbass.com, Ebassguitar, or the like).

Unless the student decides otherwise, each lesson should focus on -
basic technique, so they get started in the right direction
reading, as this will open access to other resources
simple songs, giving them immediate appreciation of the
instrument and its role.
These songs will also develop a progressive mastery of rythms and the fretboard.

That's what I'd want. I think they will appreciate the same.

 

[MalcolmAmos]

Sitting knee to knee with a new student, we should listen to what they want to learn. You already understand that.

IMO music is best learned in small bites.

• The two of you decide on the type of sheet music he will be using. NO point IMO giving him standard notation, if he will be playing from fake chord. Get him playing from fake chord, you can introduce standard notation later. He bought that bass to play songs...
• Notes on the fret board. If you are starting him on fake chord finding the root notes in first position should be enough.
• Major and minor scales to get his fingers moving on the neck. Which gets him ready for chord tones, aka R-3-5-b7.
• Chord tones next. Find the root note in first position then if more is needed add as many notes of the active chord - as needed. Roots first, then the 5, then the eight, and if more than R-5-8-5 is called for use the correct 3 and 7. That takes care of the notes he will need for quite awhile.
• Then that rhythm thing enters into the picture when you give him some songs to play.... Have him clap out the rhythm to some songs you pull up for him. Explain time signatures and locking with the kick drum.

Once I got to songs my instructor would have me working on a song and I would come in and play it for him. He would make suggestions and when I was getting close to having that song down he would give me a new one. He also would give me some theory facts I would find in that new song.

So I always had three things working. The old song, the new song and a theory paper on the new song. After the old song was history it went into my brand new gig book.

Offered for what it is worth.

 

[Reedt2000]

There are important things that must be covered. Proper technique, understanding the musical system (notation, basic theory, etc). I always tried to find scenarios which were personally important to the student to practice and reinforce these necessary parts of playing. As you teach a technique try to find a song the student likes that utilizes it. As you work on scale/chord relationships or keys and modulation find songs that modulate or have the student analyze their favorite songs. This insures they are working on what you know as an experienced player they must develop, but in a way that doesn't feel like "do it because I say so". There is nothing wrong with exploring outside resources like YouTube. I wish there were the huge amount of backing tracks to work over when I was learning. There are plenty of looped beats in a wide variety of styles. It can be a great practice tool and WAY more fun than a metronome.

 

[Garret Graves]

Good answers here, IMO. A good teacher hopefully inspires the student. A good teacher should also have somewhat of a curriculum on the various subjects. Organize your thoughts and layout a framework of what you will teach THEM for their goals. After the lesson, take notes about the student so follow ups are relevant. One of the things that I didn’t like about some teachers is they don’t remember what they told you last time, or where you are at playing wise, or what was expected on the follow up lessons. You should be organized if you teach, and a few sentences of notes on the student helps you and them.
One of my favorite lessons ever was my first one with Anthony Wellington. He showed me the ‘Application Fingering’ patterns and it blew my mind. I had played for years, saw that lesson, and so much clicked for me, I was inspired, and still study with him. Changed my playing and approach totally. He will take any player, their goals in mind, and fit them into the curriculum at those points.

 

[Garret Graves]

I’d also add, there are some people who take up teaching who don’t remember or realize that they got where they are playing-wise through a lot of fairly mundane and repetitive work. They would cut the ‘boring or irrelevant’ stuff if they teach, but doing that won’t be doing any favors for hard working students. That work helped you become the player you are. Serious students know that some of that journey involves some work that will be frustrating, and won’t be something they perform for an audience ever, such as running through modes and patterns, developing facility and understanding of theory and form.

 

[Cropduster]

I'm a student of music, not proficient in any way at this, but i instruct in my trade, which is work so very different, but it's rewarding in it's own way.
It's worth remembering that learning an instrument isn't something you can buy, it takes effort and the reward that comes from that effort doesn't come for free, if the work is put in the reward will come, and it's something very few in the grand scheme of things actually achieve so it's something to be proud of.

As a student i'm happy to do the exercises, learn the fretboard and scales etc and it all needs to be done to know the instrument, but talking to the student and understanding what music moves him/her is as important as the curriculum. I have struggled to find a teacher that satisfies what i'm looking to get out of a lesson and am still looking for a tutor but what would mean a lot is a small riff to learn that is my kind of music, playing something i know and enjoy after the lesson content as a reward of sorts, it's satisfying and they can get longer and more complex as one progresses.
just a thought.

 

[BassChuck]

Communication skills. Empathy. Knowledge. A plan to see where the student is and to take them to their goal, and check YOUR ego at the door. Don't waste your students time. And always remember, you are their music teacher, not their emotional therapist.

 

[Spin Doctor]

I'd say just hang out a shingle and go for it. You'll probably find that you are learning from your students as much as they learn from you. Besides, teaching is a skill you get better at with time.

 

[reddog]

Again.. use the internet as a resource. It is the biggest thing in 500 yrs to come along in the information world. Education adapts slower the business world. So many teachers miss great opportunities.

 

[NKBassman]

I approached you for lessons once and you told me I didn't need them and would be wasting my/our time.
That's probably not what you should do going forward.

Really though, I think you nailed it. Gotta go with the flow and cater to each individual student and their own particular goals. Obviously there's the very basics... notes, scales, proper technique, but beyond that each student is going to have a different idea of what's important.

 

[saabfender]

And always remember, you are their music teacher, not their emotional therapist.

Music, as an art, is a highly emotional enterprise. The best instructors I've had (15 or so one-on-one) had no such boundary. You are working on something very personal together. There will be emotions. You really can't expect openness if you make that kind of thing verboten.

Not trying to be argumentative, but "checking your ego at the door" makes someone not themselves. I don't think that's a good plan. Be who you are, ego and all. You have to have a large ego to stand on a stage and say, "Hey, stop what you are doing and listen to my noise! Awesome, right?! Now pay me."

we should listen to what they want to learn.

To me this is central. Couple folks have mentioned it, including the OP. To develop that idea further, the student needs to have confidence in your ability to get him there. Some want credentials, some want a personality which is comfortable to them or other factors that make the decision if you are the guy. But they need to buy into your ability to chart and navigate their course of study otherwise they won't be be going very far very fast.

 

[BassChuck]

Music, as an art, is a highly emotional enterprise. The best instructors I've had (15 or so one-on-one) had no such boundary. You are working on something very personal together. There will be emotions. You really can't expect openness if you make that kind of thing verboten.

Not trying to be argumentative, but "checking your ego at the door" makes someone not themselves. I don't think that's a good plan. Be who you are, ego and all. You have to have a large ego to stand on a stage and say, "Hey, stop what you are doing and listen to my noise! Awesome, right?! Now pay me."

To clarify: Of course music is emotional, of course you, as teacher have to exhibit this and expect the student to do so. But... my comments were made with that in mind. Rather, it is not the goal of the teacher to straighten out emotional problems with the student. I don't want to hear about their parents or love interest or work relationships, and getting involved with them is not appropriate. If they have some emotional problem that interferes with music, you might be able to help. Otherwise a professional counsellor will do them more good than you will.

As far as ego goes. Once again you are correct about the place of ego in the performing musician, and... if your student is good enough they will develop this, if not, once again there may be an emotional problem that likely is outside the realm of your expertise. But, the comment I made was in reference to showing off for the student. I've know several teacher who take some kind of pleasure in making sure the student knows they are not the level of the teacher. That kind of behavior is somewhere between pointless and damaging.

 

[BtaylorTheRogue]

I think a good teacher should be doing the following.

First, you should be playing music I like. I'm probably semi-new to music. I'm probably semi-new to this instrument. If I like pop-rock, teach me tritones by finding them in a Katy Perry song (Is she pop rock? I dunno). If I like Metal, show me mixolydian scale in a metalica song. Come to me. Don't make me sit there and bang out 70s rock tunes unless I like them.

Second, you should be teaching me a tiny bit of instrument care. As I said, I'm probably semi-new to the instrument. By touching base at the beginning of lessons, you'll know if I need to be told how to do stuff like change strings. Also, play my instrument for 1-2 minutes and make sure it's in good working order. I'm new. I don't know what action is. I don't know what intonation is. Check out my instrument. Perhaps have a few 50 buck instruments in the room with examples of bad setups?

Third, farm me out to good resources.

• From the above example, you( shouldn't waste time teaching how to change strings. It's technical and I'm likely to forget a step. But you should have a database of good resources, so you know the best youtube tutorial for string changes that covers all the topics and does it right. Perhaps even have your own youtube channel so you can just steer people there for the time consuming stuff.
• Steer me towards a good music store(s) in our area. If I'm new to music, I might not know who to trust. Explain what a luthier is, and why/when I would need to go to one. Possibly have a few recommendations. This stuff is easier if you are linked with a store.

Fourth, have me bring a CD in, especially if I'm quite new to music. This will both show you the music styles I like and let you show me some basic music/chord/key recognition tips. It's also a good way for us to pick a song I like, and learn it. Doing this maybe once every 2-4 months is a good way for you to worry less about teaching certain styles, and to sit back and really check out my physical technique. How's my positioning, transitions, picking/plucking, etc.

Fifth, talk to me about injuries, especially since I'm new. I played for 9 years before really understanding musical injuries. Carpal Tunnel is bad juju.

Sixth, teach me the fretboard. Teach me the fretboard. TEACH ME THE FRETBOARD. (Thank you Mike Estep for teaching me the fretboard as a beginner, it's given me a MAJOR edge over much of the competition.) If you teach me each dot on each string, I will naturally learn/know what's between. I still remember a story about an Elephant in a field of Flowers who saw a Giraffe picking an Apple and then getting scared by a Bee so it ran away and hid next to a Camel playing tic tac toe (sharp looks like a tic tac toe board) with another Elephant. EFGABC#E. There's your E string. Sounds silly, but would you rather teach with a 5 minute discussion or go through 30 minutes of repetition and memorization.

Seventh, teach me a few basic scales, right off the bat. Pentatonic and major would be good recommendations. Pentatonic is easy-mode for solos, improv, and most rock. Major teaches me the fingering for every mode. Plus running even a few scales improves my picking and transitioning technique. Show me how I can play the same pattern from different spots to change keys.

This is kind of beginner oriented, but even if your student isn't a beginner, it'll only take 30 minutes to verify that they know all this stuff. Better to fix a hole in someone's knowledge than to build on sand. If you do all this, it means more to me than amazing chops. I know a lot of great players that are terrible teachers.

 

[Bondobass]

Keep a beginners mind