STUDIO POLICIES
Copyright © 2023 by Park Ridge Strings. All rights reserved.
ALTERATION OR REPRODUCTION IN WHOLE OR IN PART IS STRICTLY PROHIBITED.
Welcome to PARK RIDGE STRINGS!
We look forward to sharing a fulfilling, educational, and enjoyable time with you in our music lessons. Please read this handbook carefully, as these policies will be strictly adhered to, ensuring effective communication between all parties and thus allowing complete focus on musical and pedagogical matters.
Having taught privately since 1990, I have gradually developed studio policies that I believe are comprehensive, effective, and fair to all parties. These policies have been updated to reflect the reality of the studio’s continued expansion.
MISSION STATEMENT AND COMMITMENT
As a music teacher, it is my mission to keep all students motivated and excited about taking music lessons and learning to play an instrument, as part of their well-rounded education. As such, I will do my best to encourage and challenge the student’s abilities and to share all my knowledge and professional experience with each individual. I strongly believe in each child’s worth as a human being, and strive to help each of my students do their personal best and succeed in their stated goals, while making life more beautiful and worthwhile through self-discovery and the study of art. In our lessons, I aim to teach the student through the instrument, and to open them to the beauty and complexity within themselves, while providing time-tested methods to expand their skills and share the results with others. The teacher strives to serve as a model not just of a musician, but a well-rounded human being.
STUDENT’S COMMITMENT
Playing music is great fun, but also involves consistent work. It is my hope and goal that all students will truly enjoy playing and anticipate each lesson as a new opportunity for learning and advancement.
PLAYING THE INSTRUMENT EVERY SINGLE DAY
15 minutes is just over 1% of the day, 30 minutes just over 2%... Even maintaining the same level requires minimal practice - improvement needs more than that. Little practice is better than no practice, and regularity and consistency are much more effective than “binge” or “panic” practicing before a scheduled performance. Regularity of lessons and practice is very important for the student’s progress in any endeavor, and an important life lesson to learn. If needed, longer practice times can be divided into multiple sessions. Students are given clear, graded, and easy to follow approaches to challenges, both verbally and written in their music / assignments.
This policy is presented as an agreement: I, for one, agree to reserve a lesson time for the student and teach all I know, while the student must agree to play the instrument daily.
STUDIO POLICIES
TUITION
Please contact us for the current Tuition rates. Monthly tuition is due at the first lesson of each month, by Pay or Zelle.
Some months have three, four, or five weekly lessons, depending on the day of the lesson - tuition is adjusted accordingly. The following federal holidays are observed: Labor Day, Memorial Day, July 4th, and Thanksgiving weekend, in addition to the winter and spring breaks. Lessons continue during the summer, allowing for vacation time, as needed.
MISSING LESSONS
The weekly lesson time is contracted to you, therefore payment is expected, whether the student is present or not. If you anticipate a scheduling conflict, please allow 24-hour notice.
In the event of a student’s extended illness or injury, special arrangements can be made.
Occasionally I will have to miss a lesson myself, due to attending professional workshops, conferences, or performances (knowledge gathered here, as well as continuously, through specialty publications, contacts, etc., is shared with students, at the appropriate level). When I miss a lesson, a make-up will be offered. If this is not feasible, the affected amount will be forwarded toward the subsequent month’s tuition.
TERMINATION OF LESSONS
I reserve the right to terminate a student’s lessons if absences are excessive (over 25%), and/or in the case of continued lack of commitment, home practice, and improvement.
When needed, I will recommend a reassessment of the commitment to take music lessons. I do not believe that wasting time (life), money, and potential sends a realistic and constructive message to anyone involved, especially the young student. Apart from the unpleasant financial repercussions for all parties, the teacher’s reputation suffers, while students from the waiting list are robbed of the opportunity of taking music lessons.
Please also refer to the “Student Attitude” and “Open Door Policy” sections.
ATTENDING LESSONS
A parent/guardian must be present at every lesson. Please refrain from interfering or distracting activities (taking calls, etc.). Student’s siblings are welcome as long as their presence is equally non-disruptive. Encouraging and supporting a student’s efforts is constructive, while snickering at mistakes or making students feel (exceedingly) self-conscious or guilty is counter-productive.
ATTITUDE & BEHAVIOR
Good attitude from each student is encouraged and welcomed. While we all have our normal ups and downs, a habitually disinterested and/or difficult attitude (indifferent, dismissive, rude, uncooperative or confrontational) is not conducive to progress, and is generally indicative of lack of interest. Occasional frustration, temporary disappointment, and plateaus are assumed to be part of the learning process, but if the teacher must “sell” each new concept and piece at length and repeatedly encountering opposition, a reassessment of the willingness to take lessons is encouraged. True learning is pro-active and reactive, not passive, so student’s questions are always welcomed. While it is obvious that not all students “click” with their teachers, every effort will be made to help the student on their musical journey.
Whining and “excusitis” are discouraged, while honesty, responsibility, and perseverance are encouraged. Disrespect toward music, the instrument, the act of learning, growth opportunities, or the teacher will not be tolerated, regardless of the student’s potential. Chewing gum and wearing hats are not permitted. Please also refer to the “Termination” and “Open Door Policy” sections.
PHYSICAL CONTACT
Minimal physical contact is occasionally necessary in instrumental teaching, and is limited to fingers, wrist, and elbow. This is restricted to light and temporary repositioning of the affected areas, in cases when repeated verbal directions prove insufficient. The student will be asked permission to be touched lightly, and their decision, personal space, and comfort level will always be respected. As much as possible, physical clues are first given using the tip of the teacher’s bow or a pen/pencil.
REPERTOIRE
Most of the pieces studied are popular classics from the great composers of the Western world, to which folk and holiday songs, movie themes, and more recent “classics” are added. Supporting materials include scales, exercises, and etudes (studies). Ensembles such as duets, trios, etc., are used to facilitate the development of the harmonic ear and fluidity of sight-reading.Worksheets pertaining to music theory are also used to deepen the understanding of tools and materials.
ADVANCING STUDENTS
Advancing students are gradually given more freedom in choosing their repertoire and technical approaches, such as fingerings, bowings, and expressive devices. This fosters their self-reliance and a more mature, responsible approach toward the musical work of art and the act of performing.
SHEET MUSIC
Forgetting the music binder or book(s) creates inconsistency of progress, so it is expected that all necessary materials should be brought at every lesson. If students forget their music, the lesson will revolve around scales, sight-reading, review of music theory, and even more scales - they soon get the message! All students know it is their responsibility to be prepared and bring the necessary materials to all their lessons, including their instruments (yes, it has happened...), bows, and all necessary music.
REQUIRED ACCESSORIES
RECOMMENDED CONDITIONS FOR HOME PRACTICE
STUDIO WEBSITE
The studio website provides a wealth of resources for string players: tuner, metronome, manuscript paper, some sheet music and video recordings, music dictionaries, repertoire lists, etc., etc. Please make good use of this comprehensive, free resource.
CONSISTENCY OF PRACTICE / TAKING BREAKS
Please see “Student Commitment”. When either home or away, students are expected to practice their Hand Exercises a few times daily. One session takes only one minute - this regimen will maintain and increase the physiological strength and flexibility of the hands, as well as trigger memories and mental reflexes associated with playing and performing, thus reducing the negative impact of any break from consistent, daily music study.
Taking the summer off is counter-productive, and therefore not advised. Fall lesson availability cannot be guaranteed for students not continuing during the summer. Additionally, fall tuition for students taking the summer off will be the same as for new students.
RECITALS AND OTHER PERFORMANCES
Students gain valuable experience when they share their music-making and performing in front of others. Overall, there are two studio recital every year (Fall and Spring), a “Technique and Repertoire” Competition (early Spring), and the “Christmas/Holiday String-Along” (no solos).
Although it is perfectly normal to get nervous about recitals, every student is expected to participate in them, just as they are expected to take tests and exams in school. The psychological skills gained from performing in public are essential to the student’s ability to consider and tackle deadlines, nerves, self-doubt, (self-)criticism, peer evaluation, and feedback - all of them important life skills. As well as knowing their piece very well, students will learn to prepare emotionally and mentally for the performing experience, including stage manners and routines. Performances are non-competitive, and always take place in a supportive and encouraging atmosphere. The only true competition is with one’s personal abilities and stated goals. Feedback is a valuable component of the performing experience.
ENSEMBLE PLAYING
Making music with others is an important part of the musical experience. It requires team-work, non-verbal communication, independence and inter-dependence, and social skills. Students are encouraged to perform chamber music, and are helped with suggestions, repertoire, feedback, and performance opportunities.
COORDINATION WITH SCHOOL ORCHESTRA REQUIREMENTS
Materials used in the student’s school orchestra can be studied to ensure the student’s concert readiness. There is periodic feedback-sharing with the area’s orchestra directors.
OPEN-DOOR POLICY
I am always open to exchange feedback about the experience of music lessons. If you have any questions or concerns, or need clarification on these policies or any other matters, please call me at (847) 877-0846 or email at play [at] parkridgestrings.com. Naturally, I don’t answer phone calls during teaching, but I’m happy to return your call as soon as possible. Please refer to the “Attending Lessons”, “Student Attitude” and “Termination” sections as necessary, as these may answer your questions already.
STUDENTS WITH SPECIAL NEEDS
Please inform Andrei of any special needs your child might have, physical or developmental, at you r discretion. While I am dedicated to enhancing every student’s life experience through music-making, please understand that I am not trained beyond the basics of special education and music therapy, and as such any attempt to teach students with special needs would not only be unethical but could even be potentially detrimental to the student. Your understanding of this matter is appreciated. All shared information is confidential.
ADDITIONAL REQUIREMENTS FOR LESSONS
COPYRIGHT - SHEET MUSIC
StringLibrary and CelloBasics titles derive from Public Domain editions of musical works that are in the Public Domain. They are not scans of old editions, but NEW editions, realized with skill, time, effort, and expense. All StringLibrary and CelloBasics editions are © copyright. Their reproduction, alteration, adaptation, transmittal, or storage by any means or technique are expressly prohibited and punishable by applicable international law. StringLibrary and CelloBasics editions may not be copied, sold, or otherwise distributed.
FAQs
What method do you follow?
We teach a symbiosis of Traditional European and Suzuki methods, since both have their own advantages and shortcomings, and are not mutually exclusive. The pillars of our method are:
Are you draconian or a softie?
A bit of both. I want my students to love music and enjoy playing, but I also expect them to have a good attitude and to practice. I have high expectations because I believe in every student’s potential. I like to think I know when to be demanding and when to be allowing. As much as I can, I try to remember students’ siblings, pets, and activities, and be mindful of their growing pains, so that we have a friendly, encouraging, trusting atmosphere, where music is truly and willingly a meaningful part of their daily (inner) life.
Having said that, I DO NOT believe in offering false praise or a false sense of accomplishment to the student, but trust that authentic and honest self-esteem comes only from challenging oneself and routinely accomplishing one’s set goals. To this end, I encourage the students to constantly analyze their playing and try to find their own creative and effective solutions to technical or musical challenges. This results in better practice habits, increased self-awareness, confidence, and musical self-reliance.
I always try to teach not only something to learn, but HOW we learn it, as a participatory, not passive activity. It pains me greatly to see wasted talent/potential/resources/time, and I make every effort to avert it, including by being (temporarily) disliked by the student. Most of us look back at our past teachers and respect the exigent ones more than the “nice” teachers, precisely because of their uncompromising belief in the student’s creative potential, at the expense of the teacher’s comfort or need to be liked.
What are the parent’s responsibilities?
Parental involvement is essential to the child’s development. It is the parent’s responsibility to monitor the practice regimen in the early stages. Successful, satisfying music study is dependent upon correct and consistent practice habits, established early on. The following are my basic recommendations:
How about preparation and progress?
If a student comes to lesson unprepared, the lesson time will be used for supervised practice and review, rather than to teach new concepts, skills, and repertoire. Therefore, students who habitually neglect to practice and do their assignments advance at a much slower rate. The rate at which students progress is directly dependent on their commitment of time, effort, and focus.
WELCOME TO PARK RIDGE STRINGS!
ALTERATION OR REPRODUCTION IN WHOLE OR IN PART IS STRICTLY PROHIBITED.
Welcome to PARK RIDGE STRINGS!
We look forward to sharing a fulfilling, educational, and enjoyable time with you in our music lessons. Please read this handbook carefully, as these policies will be strictly adhered to, ensuring effective communication between all parties and thus allowing complete focus on musical and pedagogical matters.
Having taught privately since 1990, I have gradually developed studio policies that I believe are comprehensive, effective, and fair to all parties. These policies have been updated to reflect the reality of the studio’s continued expansion.
MISSION STATEMENT AND COMMITMENT
As a music teacher, it is my mission to keep all students motivated and excited about taking music lessons and learning to play an instrument, as part of their well-rounded education. As such, I will do my best to encourage and challenge the student’s abilities and to share all my knowledge and professional experience with each individual. I strongly believe in each child’s worth as a human being, and strive to help each of my students do their personal best and succeed in their stated goals, while making life more beautiful and worthwhile through self-discovery and the study of art. In our lessons, I aim to teach the student through the instrument, and to open them to the beauty and complexity within themselves, while providing time-tested methods to expand their skills and share the results with others. The teacher strives to serve as a model not just of a musician, but a well-rounded human being.
STUDENT’S COMMITMENT
Playing music is great fun, but also involves consistent work. It is my hope and goal that all students will truly enjoy playing and anticipate each lesson as a new opportunity for learning and advancement.
PLAYING THE INSTRUMENT EVERY SINGLE DAY
15 minutes is just over 1% of the day, 30 minutes just over 2%... Even maintaining the same level requires minimal practice - improvement needs more than that. Little practice is better than no practice, and regularity and consistency are much more effective than “binge” or “panic” practicing before a scheduled performance. Regularity of lessons and practice is very important for the student’s progress in any endeavor, and an important life lesson to learn. If needed, longer practice times can be divided into multiple sessions. Students are given clear, graded, and easy to follow approaches to challenges, both verbally and written in their music / assignments.
This policy is presented as an agreement: I, for one, agree to reserve a lesson time for the student and teach all I know, while the student must agree to play the instrument daily.
STUDIO POLICIES
TUITION
Please contact us for the current Tuition rates. Monthly tuition is due at the first lesson of each month, by Pay or Zelle.
Some months have three, four, or five weekly lessons, depending on the day of the lesson - tuition is adjusted accordingly. The following federal holidays are observed: Labor Day, Memorial Day, July 4th, and Thanksgiving weekend, in addition to the winter and spring breaks. Lessons continue during the summer, allowing for vacation time, as needed.
MISSING LESSONS
The weekly lesson time is contracted to you, therefore payment is expected, whether the student is present or not. If you anticipate a scheduling conflict, please allow 24-hour notice.
In the event of a student’s extended illness or injury, special arrangements can be made.
Occasionally I will have to miss a lesson myself, due to attending professional workshops, conferences, or performances (knowledge gathered here, as well as continuously, through specialty publications, contacts, etc., is shared with students, at the appropriate level). When I miss a lesson, a make-up will be offered. If this is not feasible, the affected amount will be forwarded toward the subsequent month’s tuition.
TERMINATION OF LESSONS
I reserve the right to terminate a student’s lessons if absences are excessive (over 25%), and/or in the case of continued lack of commitment, home practice, and improvement.
When needed, I will recommend a reassessment of the commitment to take music lessons. I do not believe that wasting time (life), money, and potential sends a realistic and constructive message to anyone involved, especially the young student. Apart from the unpleasant financial repercussions for all parties, the teacher’s reputation suffers, while students from the waiting list are robbed of the opportunity of taking music lessons.
Please also refer to the “Student Attitude” and “Open Door Policy” sections.
ATTENDING LESSONS
A parent/guardian must be present at every lesson. Please refrain from interfering or distracting activities (taking calls, etc.). Student’s siblings are welcome as long as their presence is equally non-disruptive. Encouraging and supporting a student’s efforts is constructive, while snickering at mistakes or making students feel (exceedingly) self-conscious or guilty is counter-productive.
ATTITUDE & BEHAVIOR
Good attitude from each student is encouraged and welcomed. While we all have our normal ups and downs, a habitually disinterested and/or difficult attitude (indifferent, dismissive, rude, uncooperative or confrontational) is not conducive to progress, and is generally indicative of lack of interest. Occasional frustration, temporary disappointment, and plateaus are assumed to be part of the learning process, but if the teacher must “sell” each new concept and piece at length and repeatedly encountering opposition, a reassessment of the willingness to take lessons is encouraged. True learning is pro-active and reactive, not passive, so student’s questions are always welcomed. While it is obvious that not all students “click” with their teachers, every effort will be made to help the student on their musical journey.
Whining and “excusitis” are discouraged, while honesty, responsibility, and perseverance are encouraged. Disrespect toward music, the instrument, the act of learning, growth opportunities, or the teacher will not be tolerated, regardless of the student’s potential. Chewing gum and wearing hats are not permitted. Please also refer to the “Termination” and “Open Door Policy” sections.
PHYSICAL CONTACT
Minimal physical contact is occasionally necessary in instrumental teaching, and is limited to fingers, wrist, and elbow. This is restricted to light and temporary repositioning of the affected areas, in cases when repeated verbal directions prove insufficient. The student will be asked permission to be touched lightly, and their decision, personal space, and comfort level will always be respected. As much as possible, physical clues are first given using the tip of the teacher’s bow or a pen/pencil.
REPERTOIRE
Most of the pieces studied are popular classics from the great composers of the Western world, to which folk and holiday songs, movie themes, and more recent “classics” are added. Supporting materials include scales, exercises, and etudes (studies). Ensembles such as duets, trios, etc., are used to facilitate the development of the harmonic ear and fluidity of sight-reading.Worksheets pertaining to music theory are also used to deepen the understanding of tools and materials.
ADVANCING STUDENTS
Advancing students are gradually given more freedom in choosing their repertoire and technical approaches, such as fingerings, bowings, and expressive devices. This fosters their self-reliance and a more mature, responsible approach toward the musical work of art and the act of performing.
SHEET MUSIC
Forgetting the music binder or book(s) creates inconsistency of progress, so it is expected that all necessary materials should be brought at every lesson. If students forget their music, the lesson will revolve around scales, sight-reading, review of music theory, and even more scales - they soon get the message! All students know it is their responsibility to be prepared and bring the necessary materials to all their lessons, including their instruments (yes, it has happened...), bows, and all necessary music.
REQUIRED ACCESSORIES
- sheet music, rosin, endpin rest or shoulder rest must be brought to every lesson. A metronome/tuner for home use is required.
- a (practice) mute is sometimes needed for home use.
- please make sure the stand used at home is in good working order, and that it extends high enough for standing musicians (violin/viola).
RECOMMENDED CONDITIONS FOR HOME PRACTICE
- enough room to move comfortably
- no distractions (TV, phone, siblings, friends, pets, etc.)
- appropriate lighting (light source behind or above the player)
- comfortable temperature, humidity, and clothing
- appropriate music stand and chair
STUDIO WEBSITE
The studio website provides a wealth of resources for string players: tuner, metronome, manuscript paper, some sheet music and video recordings, music dictionaries, repertoire lists, etc., etc. Please make good use of this comprehensive, free resource.
CONSISTENCY OF PRACTICE / TAKING BREAKS
Please see “Student Commitment”. When either home or away, students are expected to practice their Hand Exercises a few times daily. One session takes only one minute - this regimen will maintain and increase the physiological strength and flexibility of the hands, as well as trigger memories and mental reflexes associated with playing and performing, thus reducing the negative impact of any break from consistent, daily music study.
Taking the summer off is counter-productive, and therefore not advised. Fall lesson availability cannot be guaranteed for students not continuing during the summer. Additionally, fall tuition for students taking the summer off will be the same as for new students.
RECITALS AND OTHER PERFORMANCES
Students gain valuable experience when they share their music-making and performing in front of others. Overall, there are two studio recital every year (Fall and Spring), a “Technique and Repertoire” Competition (early Spring), and the “Christmas/Holiday String-Along” (no solos).
Although it is perfectly normal to get nervous about recitals, every student is expected to participate in them, just as they are expected to take tests and exams in school. The psychological skills gained from performing in public are essential to the student’s ability to consider and tackle deadlines, nerves, self-doubt, (self-)criticism, peer evaluation, and feedback - all of them important life skills. As well as knowing their piece very well, students will learn to prepare emotionally and mentally for the performing experience, including stage manners and routines. Performances are non-competitive, and always take place in a supportive and encouraging atmosphere. The only true competition is with one’s personal abilities and stated goals. Feedback is a valuable component of the performing experience.
ENSEMBLE PLAYING
Making music with others is an important part of the musical experience. It requires team-work, non-verbal communication, independence and inter-dependence, and social skills. Students are encouraged to perform chamber music, and are helped with suggestions, repertoire, feedback, and performance opportunities.
COORDINATION WITH SCHOOL ORCHESTRA REQUIREMENTS
Materials used in the student’s school orchestra can be studied to ensure the student’s concert readiness. There is periodic feedback-sharing with the area’s orchestra directors.
OPEN-DOOR POLICY
I am always open to exchange feedback about the experience of music lessons. If you have any questions or concerns, or need clarification on these policies or any other matters, please call me at (847) 877-0846 or email at play [at] parkridgestrings.com. Naturally, I don’t answer phone calls during teaching, but I’m happy to return your call as soon as possible. Please refer to the “Attending Lessons”, “Student Attitude” and “Termination” sections as necessary, as these may answer your questions already.
STUDENTS WITH SPECIAL NEEDS
Please inform Andrei of any special needs your child might have, physical or developmental, at you r discretion. While I am dedicated to enhancing every student’s life experience through music-making, please understand that I am not trained beyond the basics of special education and music therapy, and as such any attempt to teach students with special needs would not only be unethical but could even be potentially detrimental to the student. Your understanding of this matter is appreciated. All shared information is confidential.
ADDITIONAL REQUIREMENTS FOR LESSONS
- The student’s fingernails must be trimmed and hair kept out of the way. Please don’t forget your glasses, if needed.
- Comfortable clothing is essential to proper playing; all students, please wear pants or long skirts to lessons.
- Please do not arrive too early for your lesson - it disrupts the previous student’s lesson, and imposes an audience where none was anticipated. FYI, cell phones are synchronized to the network’s, real time. If your lesson is the first of the day, please do not assume that Andrei is already at the studio much before the lesson time.
- For minor students (under 18yo), a parent/guardian's presence is mandatory and required.
- Teacher is to be addressed as Mr. Pricope, consistent with other educational settings.
COPYRIGHT - SHEET MUSIC
StringLibrary and CelloBasics titles derive from Public Domain editions of musical works that are in the Public Domain. They are not scans of old editions, but NEW editions, realized with skill, time, effort, and expense. All StringLibrary and CelloBasics editions are © copyright. Their reproduction, alteration, adaptation, transmittal, or storage by any means or technique are expressly prohibited and punishable by applicable international law. StringLibrary and CelloBasics editions may not be copied, sold, or otherwise distributed.
FAQs
What method do you follow?
We teach a symbiosis of Traditional European and Suzuki methods, since both have their own advantages and shortcomings, and are not mutually exclusive. The pillars of our method are:
- good posture - for healthy, efficient, balanced, easy, elegant playing
- conscious use of coordination, independence, consistency, perseverance, openness (mental and motor)
- use of analytical skills, abstract reasoning, symbolism, analogies, creative imagery, visualization
- knowledge of necessary music terminology and routines; elements of style, music theory and history
- constant pursuit of a beautiful, projecting tone, purity of intonation, correct rhythm, and clarity of articulation - the keys to a rewarding, secure, compelling, and confident performance.
Are you draconian or a softie?
A bit of both. I want my students to love music and enjoy playing, but I also expect them to have a good attitude and to practice. I have high expectations because I believe in every student’s potential. I like to think I know when to be demanding and when to be allowing. As much as I can, I try to remember students’ siblings, pets, and activities, and be mindful of their growing pains, so that we have a friendly, encouraging, trusting atmosphere, where music is truly and willingly a meaningful part of their daily (inner) life.
Having said that, I DO NOT believe in offering false praise or a false sense of accomplishment to the student, but trust that authentic and honest self-esteem comes only from challenging oneself and routinely accomplishing one’s set goals. To this end, I encourage the students to constantly analyze their playing and try to find their own creative and effective solutions to technical or musical challenges. This results in better practice habits, increased self-awareness, confidence, and musical self-reliance.
I always try to teach not only something to learn, but HOW we learn it, as a participatory, not passive activity. It pains me greatly to see wasted talent/potential/resources/time, and I make every effort to avert it, including by being (temporarily) disliked by the student. Most of us look back at our past teachers and respect the exigent ones more than the “nice” teachers, precisely because of their uncompromising belief in the student’s creative potential, at the expense of the teacher’s comfort or need to be liked.
What are the parent’s responsibilities?
Parental involvement is essential to the child’s development. It is the parent’s responsibility to monitor the practice regimen in the early stages. Successful, satisfying music study is dependent upon correct and consistent practice habits, established early on. The following are my basic recommendations:
- a consistent TIME for daily practice (make sure the instrument is readily available)
- a set practice ENVIRONMENT, without distractions, with good lighting and all necessary tools
- the student will have two weekly GOALS. Please be aware of them and reinforce them with your child. The goals are written in their lesson assignment book or next to their musical selections.
- please find time to LISTEN to your child’s progress once a week - encourage and support their efforts.
- ensure that ALL necessary materials are brought to EVERY lesson.
- keep student’s NAILS TRIMMED and hair/jewelry out of the way.
How about preparation and progress?
If a student comes to lesson unprepared, the lesson time will be used for supervised practice and review, rather than to teach new concepts, skills, and repertoire. Therefore, students who habitually neglect to practice and do their assignments advance at a much slower rate. The rate at which students progress is directly dependent on their commitment of time, effort, and focus.
WELCOME TO PARK RIDGE STRINGS!