My name is Heather Bissell, and I’m a full-time music teacher who specializes in Integrated Music Teaching Strategies. I say music teacher and not just piano teacher, because I’ve come to believe that my true role is far more encompassing than merely teaching instrumental skills to students.
I used to struggle with students coming in unprepared to their lessons all the time.
There’s nothing like the monotony that comes from teaching the same lesson over, and over, and over again, right? Even with the best repertoire and the most creative approach, there never seems to be a lot of follow through between lessons on the part of the student or parent, and then there is the dreaded hill of “learning how to read the notes.” I used to say, “if kids could make it through that rough spot, then the chances of them quitting piano within in the first 2-3 years went down considerably.”
35 years ago, when I first started teaching, I was already searching for better ways to reach younger students, and a better way to train the ear from the beginning. There had to be a way of bridging the gap to reading faster. All the research was pointing toward starting kids younger and younger and by ear. But these studies rarely dealt with how to go about this and how to balance all the aspects of a lesson. It also didn’t help issues with sight reading and rhythm as the major stumbling blocks for most students. Even worse, I was a Piano Performance/Pedagogy major, and there seemed to be no curriculum in place that actually taught how to go about starting a child at the piano! Granted, there is always plenty of this in any profession, but you’d think that ‘how to start’ might actually be a course topic?
There were plenty of courses on repertoire, and historical surveys of famous piano pedagogues, but most of the actual teaching was “learn as you go,”…follow the method book. Which sometimes left much to be desired.
Lesson planning seemed to take place on the general Music Ed side of things, but they often left out the “how to apply this to an instrument” step, so once again, there were definite gaps in pedagogical sequencing.
So, subconsciously I started to seek out more information about early childhood education everywhere I could. I even audited other Music Ed courses that were NOT required for my masters degree at the Hartt School of Music. I learned how to play several instruments of the orchestra, and did a survey of methodological materials to date. I plowed through Gordon, and general music ed, even the preschool spin-offs like Music Together. I was in the mecca of early childhood education at Hartt because John Fieraband, a student of the Kodaly method, had just released his own take on the methodology for starting young kids via Conversational Solfege. This, in turn, put me on the path of looking at methodologies like Orff/Schulework which had given birth to Kindermusik, Kodaly which I was told was used mainly for teaching singing, and Suzuki.
In 2007, I was already on the adjunct faculty for the Hartt School as well as the piano faculty for their community division. It was then I decided to take the introductory course to Suzuki Every Child Can.
The appeal of being able to start students earlier was what first attracted me.
In Suzuki, they focused on creating a positive environment for learning, and teaching technique right from the get-go. Coming from my own experience of not learning proper technique until quite late, this was definitely a plus. I could also see the importance of the shared responsibility in creating this atmosphere. This was the only methodology out there at the time, that purposely involved parents in the training. I thought, “Wow, something that finally makes sense!”
Originally, I felt that I’d be certified for the first few books. Little did I know, I was actually creating my own environment for learning…
By surrounding myself with people and coursework, I moved toward the singular goal (I thought at the time) of filling the gaps in my own knowledge. What I didn’t realize was this was the path to integrated teaching strategies. Concurrently to all this, I was also finishing up some of my graduate coursework. One such course was in graduate ear training. It was here that I came in to contact and really began using the Kodaly method. I had had a fairly horrendous history with ear training at the undergraduate level. Now that I look back, I understand what worked, and what didn’t work, and why. Unfortunately at the time, it was my first indoctrination to this type of training and it was definitely an exercise on how NOT to teach ear training. I remember the horror of being asked to stand up in front of everyone and sight sing something unprepared. The rule being, that the second you made a mistake you had to sit back down and you were only graded on what you sang. So you can imagine what sort of toll that took on your self-esteem as well as your grade if you fumbled 2 notes in and had to sit down! Looking back, it’s sad to think how this experience shaped my early years. I left feeling that it was a skill that “some” people were good at, and others would never achieve no matter how much they practiced. I truly believed that I belonged to the latter category.
Then the turning point came for me. It was fun, it was musical, it was challenging enough to keep my interest piqued!
At Hartt, I knew ear training was still something I needed to work on, and I braced for the usual discomfort. Unlike, my former courses though, we started by singing real repertoire. We sang duets, quartets, rounds, sing and plays at the piano, and all things theoretical, but what made all the difference in the world was the fact that it was methodical (stepwise) and do-able. It suddenly became my favorite class. This was life altering for me and it was not just the methodology in this case, but due to the master teacher effect. Thank you for opening my eyes and changing my world, Gabor! I instantly felt that I had to find out more.
What if I could make all my lessons like this, and teach ear training at the same time so my kids would never have to struggle like I had???
The wheels in my mind started turning. I realized the power and difference one teacher could make who believes in you. I also looked around and saw that all of my classmates were struggling with the same things I was, so I was NOT alone. That meant that this was a learnable skill that could be mastered with time. Out of this experience grew my next decision….I decided to go to the source and find more master teachers on this subject.
I dove deeper into the Kodaly methodology and realized it was very much in synch with my own teaching style. My professor at the time, Gabor Viragh, (a native Hungarian) was also head of the music theory department at Hartt, and I found myself hanging out there, intrigued by this ‘new’ connection I had found between ear training and music analysis. Once he learned of my interest in studying abroad, he introduced me to several Hungarian teachers who taught at the Kodaly Institute/Liszt Academy. These Pedagogues had had direct contact with Zoltan Kodaly. So much to everyone’s surprise, in the summer of 2008, I packed up my two suitcases, three boxes of music, my laptop, and with my cat “Minuet” in hand, I was off to live and study in Kecskemet, a small town outside of Budapest, Hungary. I studied at the Institute for 2 years, and I completed my second masters in Music Education. Besides my desire to learn all there was to know about the Kodaly method, I had also found a Hungarian pianist teaching at the institute who I adored. Orsolya Szabo specialized in, no less, Piano Pedagogy from a Kodaly standpoint. I had finally found the answers I was seeking in combining instrumental training with what Kodaly teachers call musicianship. If I had to summarize what it is that I do now, Kodaly’s famous quote pretty much says it all.
“A Good Musician consists of: a well-trained ear, a well-trained intelligence, a well-trained heart, and a well-trained hand.”-Zoltan Kodaly.(Selected Works pg. 197, 1953)
But instead of being separated out and compartmentalized as it was in the States, music theory, ear training, and analysis were all taught together as part of the same process. Kodaly teachers very much feel that this musicianship training should happen in an integrated way, as early as possible, every day (if not 2-3 times a week), and for at least two years for musical fluency before beginning an instrument. I started to think what if….?
I imagine you might be able to fill in the blank. At this point in time, integrating teaching methodologies was very much frowned upon, but after observing what I observed in Hungary, I didn’t need any more convincing. I started to formulate a master’s thesis on how to combine Suzuki with Kodaly. Something in my bones just told me it was the way to go. The structure of Suzuki already had the group class experience built into it, so why couldn’t I introduce the Kodaly method into this portion of the learning? I would still be keeping all of the Suzuki tenants in place for the one-on-one lesson and expending the student’s musicianship further through group class. Again the wheels started turning…
A brief word about Suzuki group class. Although the Suzuki philosophy very much supported group learning, the methodology didn’t seem to extend to group class strategies or teaching techniques. Most of the group classes I witnessed were spent reviewing the Suzuki repertoire. This in itself has value, but I have since learned that group class is capable of achieving so much more!
Group Class is Where all the Strategies Meet and Where the Magic Happens!
It isn’t just for review. It’s a safe space to explore new concepts while you process the things you’ve already learned.
It involves both active as well as passive learning skills. Most importantly, by watching others, students begin to collect an array and breadth of experiences they could not possibly achieve on their own! It is also the most desired way children enjoy learning and that’s really what it is all about.
With all of this said, then why do most teachers run screaming away from teaching group class??
Well… it could be studio limitations in terms of instruments, space, etc., or it could just be because it’s painfully apparent that most teachers (new to group class), have no idea how to go about it. There seems to be no real step-by-step approach covered in the methodology to get you started, and it is therefore, simply left up to the current skills of the teacher. Yikes! Anyone who’s engaged a class of 20 or so 5 year olds can easily attest to the fact, that you need your most skilled teachers teaching the very young. Not to mention, someone who is fluent in class management skills. This is stressed quite a bit in the Kodaly methodology, and is sometimes sorely lacking in the United States. We tend to have it backwards. We hire our least experienced teachers to teach kindergarten, thinking that they will learn as they go and move up the grade levels. Or worse, we train them to teach only one level, when they are most often faced with a multi-level classroom in music. So no wonder, we find it overwhelming and uncomfortable. There’s a lot more to it than first meets the eye. It takes perseverance…planning…and constant re-evaluation. The problem is, is that by the time you realize this, you are either in the throws of it just trying to survive, or you feel you need to suddenly seek out more training, which can be both time consuming and costly.
What if I were to tell you that there is a better way? Have I piqued your curiosity yet on how these integrative teaching strategies work together?
My journey didn’t end with Kodaly and Suzuki. As I observed a lot of master teachers, and worked on the details of how to structure a curriculum. I eventually graduated and moved back to the States in 2010. Later that year, I took a job working for a community music school in Winchester. My focus was still K-12, but it was becoming more and more early childhood oriented. I could see the benefits of laying the foundation correctly from the beginning. It was apparent in Suzuki, and it was also apparent in Kodaly.
After two years I was department chair, and the idea surfaced that “wouldn’t it be great if WCMS had a Suzuki department.” I agreed and mobilized the initiative along with my colleagues. When I became the director of the Suzuki Piano Program in 2013, I decided that I was going to try to put some of my newly acquired knowledge into practice this time around and see what happens. I endeavored to honor the best parts of both methodologies and mold them into something that was only going to enhanced the results. I immediately put into effect the ideas of 2 lessons per week and mandatory parent education. I also started to develop a group class format, that was Kodaly based, while tailoring it to Suzuki repertoire and the review process. In terms of the private one-on-one lesson, I maintained and refined my approach to Suzuki. I also became certified in all 7 books, including SPA, and the Piano Practicum. (I’m currently working on becoming a teacher trainer.)
Once again, in the midst of this environment, another methodology that had been mulling around my mind for sometime was now on the horizon and about to fill another gap. The methodology I’m referring to is Dalcroze. I had had exposure to this at Hartt, and also in Hungary. I had even wanted to visit the Dalcroze Institute in Geneva when I was in Europe, but sadly, I never had the chance. I did, however, continue to research it as I gathered materials for my thesis. Around the time I was starting the Suzuki programing at WCMS, Longy was closing it’s community division. Several professors who ran the department at Longy also taught at WCMS. So naturally, the K-12 portion of Dalcroze related studies ended up shifting to our school. In 2015 they decided to start a teacher training program in Dalcroze right at WCMS, so once again, I was in the right place at the right time. Although most educators are aware of the Eurhythmics portion of Dalcroze, there are also three other components; Ear training/Solfege, Improvisation, and Pedagogy.
The most valuable part of my experience with this methodology has been the exploration of teaching Eurhythmics. This, in short, is the internalization of rhythm and other musical concepts through movement to music; paying particular attention to the relationship of time—space—energy. There is also a strong social interactive ensemble aspect to this methodology, and in the hands of a master teacher you can’t help but notice the constant presence and nurturing of creativity, and guided discovery . I’ve highlighted words in last sentence because you can easily start to see correlations between this type of learning, and the approaches of Kodaly and Suzuki. All three methodologies emphasize an early start, the development of the whole body and mind together, the importance of listening skills, as well as the need for expert teachers using the most musical examples of repertoire they can find. So, “What did Dalcroze add to the picture?” Remember those rhythm issues I had encountered with my early students?
Often times, students are focused on the pitches, yes, but even when they are sure of the notes, they will still play them with incorrect timing.
I knew how many of my students still seemed to struggle with rhythm after years of playing an instrument. Through teaching the Kodaly method, I had also come to realize that most reading issues were more rhythmic than note related. This is crucial to understanding how to go about finding a solution to this dilemma for students! For years, I thought if I drilled notes, that that would correct this issue, but what I didn’t realize was that the issue was much deeper and more fundamental. All I can say, is always, always, always, teach rhythm in relation to a steady beat. How can you do this most effectively?…Well by moving to music.
Eurhythmics engages all of the senses in the process, and helps kids experience concepts on a much deeper level. They essentially feel it in their bones and they own that sensation for life. They also gain a sense of phrasing and never forget it. That isn’t to say that they don’t still need help accessing those feelings again when they are at their instrument; that’s where the teacher comes in. But the all-important ground work has been laid.
I have since completed Certification for levels 1 and 2 and have begun work toward Level 3. No sooner had digested the material I was experiencing, I started to insert parts of it into my integrative group class structure: which is now broken into three segments—Eurhythmics, Musicianship, and Ensemble playing.
I know. One of the greatest frustrations we teachers face, is not having enough time to fit it all in! So How do I do it?
With the weekly group class, this became a non-issue. Once the programing was in place, it took a little bit of fine tuning, but with the support of the parents and faculty, all things were suddenly possible. More importantly, it was also what the parents were looking for in a musical approach. This combined concept, of teaching musicianship skills together with the private lesson, neatly bundled into a package deal, was very appealing. Kind-of like one-stop shopping. Not to mention, it was so much more in depth, than what you could possibly cover in a weekly private lesson. Our programming also started to attract teachers who could see the benefits of this type of learning.
At this point, you might be wondering, “What was the outcome of all this?”
Well, due to this integrative approach and the fact the kids came twice a week, they moved twice as fast through the repertoire. By age 6 they were playing at an early intermediate level and by age 9 or 10, they were beginning Sonates and on their way to advanced repertoire. What’s even more amazing, is that these kids seemed to have a veracious appetite for learning, and the ability to gobble music. They have no issues performing from memory, and they approach every challenge with a sense of joy. With the support network of other parents and classmates in place they also always feel nurtured in the process.
Currently, we have about 75 people involved in our Suzuki Piano Department at WCMS; which consists of multi-sibling families and parents. We have 7 group classes running regularly on Saturdays, and three Suzuki teachers on the faculty. Attrition rate is within ‘normal’ limits at about 2%. Since 2017, we’ve had an increasing number of students (some as young as 5 years old), involved in many outside festivals, institutes, and workshops. They continue to grow and surpass my expectations daily, but what’s most remarkable, is their sense of spontaneous play with music, and the compositional skills that are now emerging. This is more than I could have ever hoped for because they truly love what they are doing, and are always trying to test themselves by raising the bar even higher.
For my oldest, most advanced group class, I’ve actually had to dive into some of my college Kodaly materials, and RCM music theory level 7 and higher. At this point, we are revisiting subjects and going more in-depth. The age range in the class is age 10-13. Can you imagine? Isn’t it every teacher’s dream, to someday run out of subjects to teach? (Not that that could ever really happen, but it just may….by the time they are in high school) I witnessed this same effect in Hungary, but of course, they were studying music in the Kodaly schools 4-5 times a week. So just imagine?? The 2nd graders were able to sing two part polyphonic pieces from memory with flawless intonation. The middle school children were musically fluent. And the High school kids were playing and composing at an undergraduate level, and so on, and so forth…
So it all boils down to timing and environment, and some parent education.
All three pedagogues knew this; Suzuki, Kodaly, and Dalcroze. For me, it was a bit more of a journey of discovery or rediscovery depending upon how you look at it; half serendipitous and half sought after.
This is my tale thus far, but it continues to develop. I was slated to give several talks about this type of integrated programming in 2020 at national conventions, all of which were cancelled due to the pandemic. So I’ve spent the last year teaching from home, and trying to come up with a way to share what I know, and perhaps reach a greater audience. I believe, the on-line forum has finally created such an opportunity!
If this story resonates with you, and you feel like you have struggled with many of the same issues, but haven’t had the time or the money to spend on augmenting your training, then you are in good company and definitely in the right place! I believe all of these things are solvable with the right mentorship, environment, and integrative teaching strategies. So let’s create that! You never know until you try, and it may be the stepping stone to some discovery you’ve been yearning for or it may confirm what it is that you do every day and convince you to do more of it. 🙂 The bottom line is, is that I’d like to help get you started, and then if you feel like you want to pursue more training in one or all of these methodologies, I can help with that transition too.
Over the next few months, I’m going to be writing and youtubing on several topics related to this. I’m planning a Free webinar in the near future, so Please subscribe below if you are interested in receiving notifications about this. Click this Link to join my VIP Teacher List.
I took a very unconventional approach to my education, and I think at this point, I’m the better for it. I’ve had so many AMAZING mentors along the way that helped shape my path, and I’d like to do the same for others. I’m all about helping you achieve your goals, and sharing the information I have gleaned over the years. These are not kept secrets, these are cornerstone methodologies have been around for quite a while, it is how I integrate them that is unique.
Until my next installment….Happy Teaching!
Heather Bissell, MM, MEd
Special thanks to: Perter Erdei, Klara Nemes, Mihaly Ittzes, Laszlo Nemes, Kati Kis, Gabor Viragh, Sarolta Platty, ZsuZsa Kontra, Zoltan Pad in opening my eyes to new possibilities with the Kodaly method. Yasuko Joichi, Doris Koppleman, Caroline Fraser, Fay Adams, Nancy Modell, and Beth Cantrell for my Suzuki training and Rita Huak for her continued guidance in Parent Education. Eiko Ishihara, Adrian Ausch, Lisa Parker, Jim Conner, and Jeremy Dittus for my training in Dalcroze. Orsolya Szabo, Jando Jeno, Frank Glazer, Margreet Francis, Paul Rutman, David Westfall, Frank Corliss, and Susan Aceto for their wealth of knowledge and enthusiasm regarding piano performance/pedagogy.