How to Find New Students for Your Violin Studio

When you’ve organised a good studio space and put together the scores and things needed to start teaching, it’s time to find new students. Actually, attracting them isn’t so difficult. As you and I know, learning to play violin is a very desirable activity, and as a school principal once told me, a rather prestigious one. Selecting the right students from those who apply is another matter, the subject of a later post. Today we outline some of the more successful ways to build up class numbers until the time when word of mouth becomes the trusted primary source.

Advertising

A short advert in a weekly local newspaper for a few months will usually produce a trickle of inquiries, which I’d have to rate a limited success in our case. It has the advantages of being inexpensive and likely to draw people from the surrounding areas. We specified beginners in an age range from 3 to a maximum of 6 years old.

What to put in the ad – and what not

Read More →

Read More →

Ave Maria by Schubert – Violin Solo

Franz Schubert composed Ellens dritter Gesang (Ellen’s Song), eventually becoming known as Ave Maria, in 1825 at the age of 28, to the lyrics of The Lady of the Lake, a famous poem by Sir Walter Scott. The melody is commonly sung with the words of the traditional Catholic prayer, Ave Maria (Hail Mary).

Ave Maria has been performed by some of the world’s great classical singers, such as Andrea Bocelli, Maria Callas and Luciano Pavarotti, and continues to be popular with audiences all over the world. Unlike many of Schubert’s compositions, it was acclaimed and published in his lifetime.

(Note: TSV Gold membership is required for further reading and access to score library.)

Read More →

Read More →

Setting up for a Successful Violin Teaching Practice

Two or three choices become clear when you decide to become a violin teacher: take a job, set up your own studio, or have a mix of both.

Photo courtesy of Reuben Hustler

Each choice has its own advantages, benefits and challenges. A teaching job in a school or institution has the security of a regular salary and usually a prescribed curriculum, although you may sometimes feel that you follow someone else’s agenda and conditions.

Setting up for yourself and becoming successfully self employed entails more work and has less financial certainty in the beginning, yet you gain complete control over your time and energy and have the opportunity to create a flourishing violin programme founded on your ideals and vision.

Founding your own studio practice is an attractive and exciting adventure that will take you on an enjoyable and fulfilling lifetime journey.

Take into account the time needed to assemble enough students to make it viable. During this period a part time teaching job can be a good option, allowing time to build up numbers for your own studio.

Whatever you decide, setting up for future success means putting in place the right structure and systems.

Gearing up for a Successful Teaching Practice 

(TSV Gold subscription required)

Read More →

Read More →

How to Set Up and Run a Successful Violin Studio – Introduction

“I’m so lucky. I have a fantastic profession, which I love. My work life is fulfilling and rewarding, and I’m excited by the opportunities and creative challenges it brings me.”

How often do you hear expressions of happiness and contentment like these – about work?

They are the words of a successful violin teacher running a flourishing studio of enthusiastic students who are all making great progress.

That’s the golden goal. How do you make it become a reality?

How to Set Up and Run a Successful Violin Studio

In the new series on TSV Gold, How to Set Up and Run a Successful Violin Studio, we’ll show you how to do it. You’ll learn from our greatest successes – and from our worst mistakes.

You’ll find out the important things to set in place to make your teaching life happy and productive, providing you with a healthy income and proper holiday periods to sustain a balanced life – while your students enjoy exceptional progress.

Here’s a brief list of some of the topics we’ll cover:

  • Gearing up for a successful studio teaching practice;
  • How to set your fee structure and get paid fairly and appropriately;
  • How to develop and organise the Teaching Schedule;
  • How to attract and select new students to make your programme accelerate;
  • The initial phone call and qualifying newcomers;
  • The interview, the offer and how the process of choosing of students is critical to the success of your programme;
  • Important issues about accepting students who have been studying elsewhere;
  • Where to find and how to use the right venues for group classes and concerts;
  • How to keep up with the boring stuff like accounting, taxation, insurance and record keeping;
  • Accreditation – for you and your students.

If there’s a topic or question on setting up and running a teaching studio you’d like to ask about, let us know! Go to TSV Gold Support on the Gold Dashboard.

Cheers,

John

 

Read More →

The Swan (Le Cygne) by Saint-Saëns – Violin Solo

Le Cygne (The Swan) by French composer Camille Saint-Saëns, originally scored for cello and two pianos, is from The Carnival of the Animals (Le carnaval des animaux) composed in 1886. Due to its attractive and entrancing melody, Le Cygne was soon transcribed and arranged for other instruments, including violin, as it spread far and wide in the musical world. Not bad for something Saint-Saëns himself regarded as a piece of fun!

Swan

Photo by Igor Kaliush

A great little solo for a student concert, The Swan is a perfect choice to follow a concerto or any other quick piece. It’s easy to learn for students at Suzuki Volume 4 or 5 and beyond, and has an attractive piano accompaniment.

Both scores can be downloaded by TSV Gold members from the Solo Scores section of the Gold Scores page.

A Few Study Points

Time Signature and Entry

The 6/4 time signature sets a question for students, initially just to get a feel for the rhythm of the music. Should we count six crotchets (quarter notes), three minims (half notes) or what? A closer look (and listen) reveals an underlying structure of two dotted minims – groups of three crotchets – although putting too much weight on these two beats can upset the flow of melody, which is intended, quite obviously, to be swanlike.

Read More →

Read More →

Romance in F Major by Beethoven – Violin Solo

When one of our violin students asked for advice about audition pieces for a university music course, I suggested Beethoven’s Romance in F Major (Op. 50). She became, as I had years before, entranced with its soaring melodies, mesmerized by the unmistakable sense of rightness of the phrases and harmonies, and awed by the perfection of Beethoven’s creation.

Photo by Annie Spratt

Romance in F Major flows along at the slower tempo of Adagio Cantabile. As you know, slow pieces are not necessarily easier. They require confidence, calm nerves and a steady bow. Nonetheless, knowing her deep love of the Romance I suggested she play it first at the audition, despite having spent a lot of time working up a dazzling quicker work. Afterwards, hearing that the panel didn’t ask to hear another piece, I knew the audition was successful.

In my opinion, of the two Romances Beethoven wrote for violin and orchestra, No. 1 in G Major and No. 2 in F Major, the second is more appealing for a student solo by virtue of the beautiful melody lines. They resound in your head and follow you into your dreams at night.

Read More →

Read More →

Group Class Success – Goal Setting

One of my biggest interests in the arts of teaching and learning is the power of the group to get things done and get skills learned. I would even go as far as saying that individual learning leaves most students in an unmotivated no man’s land where not enough learning happens. In Suzuki group classes, it’s great to see children (and parents) learning from each other. It looks like the child is thinking, You can do it, so I must be able to do it too. And bang! They work it out.

And one of the best things I have seen was a child at the end of Book 1 as she sat entranced, watching some Book 4 players. At the same time she had her violin half way up attempting to follow the fingering. I was very impressed by how close she came.

Another time I noticed a four year old student intensely watching some advanced students rehearsing a piece for concert. The group session for the younger students had finished and her mother desperately wanted to go home, but the little girl dug in her heels and absolutely refused to go. This little violin player turned herself into a very quick learner and was more in control of the learning process than her mother could fathom.

The group has what I call an enormous unseen learning effect on the individual.

Goal Setting

Read More →

Read More →

Sicilienne attributed to Maria von Paradis – Violin Solo

Violinists around the world love the Sicilienne in E Flat, a short solo for violin or cello, perfect to calm a concert audience after a fiery concerto. Sicilienne was attributed to the blind Austrian composer-musician Maria Theresia von Paradis, when in fact it comes from Carl Maria von Weber’s violin sonata Op. 10 No. 1 – a pity in some ways, since  Maria von Paradis’s story is wonderfully fascinating.

Dancing flamingos

Photo courtesy of Simon Matzinger

Sicilienne is popular with audiences too. Cellist Sheku Kanneh-Mason played it at the Royal Wedding on May 19, 2018 and as you can see from the videos below, Sicilienne has found a place as an attractive stand alone solo and concert encore. Members can now download and print the score from the TSV Gold main scores page.

The Main Points

Tempo

It’s fascinating to hear how differently musicians perform the tempo of Sicilienne. As with Mozart’s Sonata in E Minor, the speed affects everything, profoundly influencing our experience of the music, especially when we feel pushed along too quickly or held back unnecessarily. After teaching this piece for many years my preferred tempo is on the slower side, using glissando on some of the shifts, for example in bars 19-20. Read More →

Read More →

Group Class Success – Building Memory for Successful Learning

A significant moment arrived in our violin school when we decided to create a fast incubator for violin progress and practice – without the pressure. Our students were doing quite well and some very well, however we believed everyone could go much quicker and learn new music easier. We wanted better results, greater success and faster progress for all students. Ultimately, it worked. How did we do it and what did we achieve?

Photo courtesy of David Becker

How to Build a Powerful Memory

One of our initial steps was to focus on how to build memory. To work successfully with their children, parents need to understand how memory works, how it is built. This topic formed the basis of several talks I gave at our group classes. The Talk came after a short break following the second session, where everyone – parents and children of all ages including the three year old students – came together to listen and participate in the discussion. I aimed to keep the talk short. To my amazement even the youngest students would listen and sometimes have great answers to my questions about how to study violin at home.

Previous teaching experience had taught me how to wait until everyone was quiet before starting. It is quite reassuring and fun in such a mixed group to watch the calm tide of quiet go through the room as people and children realise you are ready to start.

At group classes we illustrated clear learning pathways for parents to understand how their child could consistently master and retain new steps. This pattern meant that children could progress through the pieces in the Suzuki books much faster than usual. Once children had mastered Twinkles and all the early learning needed to get to Twinkles, we came to expect two books a year as normal progress. Beginners were able to learn Twinkles in about three months.

Read More →

Read More →

Sonata for Violin and Piano in E Minor, K. 304 – W.A. Mozart

Mozart composed the Sonata for Violin and Piano in E minor, K.304 in 1778 while he was in Paris, during the same period when his mother, Anna Maria Mozart, died. The mood and intensity of this piece clearly reflects the emotions of this time of his life. The sonata is the only instrumental work he wrote whose home key is E minor.

Memorial plaque to Mozart's Mother

Sonata in E minor is a relatively easy recital piece for students at Suzuki Volume 7 level and beyond, and provides an especially good opportunity for advanced piano students to partner them in performance.

Both instruments play the opening theme in unison, to continue in a heartfelt expressive partnership of poignant beauty and drama, returning often to darker and softer emotional colours. The sonata is another of Mozart’s creative wonders, with his unique colours of light and dark, matchless melodic invention within a harmonic landscape that is somehow both seamless and unexpected.

TSV Gold members can now download and print the scores from the Gold Resources page.

The Main Study Points

Tempo

Due to the Allegro marking, we’re tempted to begin the first movement too quickly, which I think can lessen some of its dramatic power. In measure 8, for example, the strong contrast between the rather plaintive voice of the opening theme and the ascending staccato line following sounds better at a slightly slower tempo. Try it and see what you think.

Read More →

Read More →

Top

Powered by WishList Member - Membership Software