What ages do you teach? Do you prefer one age group over another?
My youngest students are three or four and my oldest are adult students in their 50s, 60s, and beyond. I teach every age in between.
I don’t buy into this idea that if you’re older than 5, 6, or 7 and you’re just starting to play the violin or viola it’s too late for you. It seems that many teachers don't take adult students seriously, but I love my adult learners. I can geek out on theory and the subtleties of technique with them, they tend to have a dedicated practice, and are either very motivated, or weed themselves out quickly if they aren't really serious.
I equally enjoy my young students, as long as they are really enthusiastic about learning, and my pre-teen and teenage students, who are often starting to work on more advanced techniques and pieces and play in the youth orchestras. It’s the challenges that students of different ages and backgrounds present that keeps me “the the laboratory” finding the best ways to get the information to soak in with each student, and year by year continuing to enjoy teaching immensely.
What ability levels do you teach?
Beginners through advanced players, though these are relative terms. The most important element of the student-teacher relationship is rapport. Without this, even the most qualified teacher or serious student won’t get very far.
I start my beginners off very methodically, focusing intensely on technique and ear training until a student has mastered the basics. I want everyone sounding good before we put it all together. Easier said than done sometimes!
With intermediates I focus on stabilizing basic techniques that were perhaps learned ineffectively elsewhere, fine tuning the student’s ear, introducing more advanced techniques such as vibrato, new bowing styles, and shifting, and helping the student to cultivate his or her musical voice.
With advanced players the search continues to discover and correct problem areas, be they technical, interpretive, tension related (mental or physical), having to do with stage fright, or with the student’s listening attention. We continue to develop the musicianship of the student, focusing on an awareness of good musical taste as well as personal expression. If you are a more advanced player, I suggest you make an complementary appointment with me, during which we will assess your playing and goals. Finding the right teacher at the right time is very important especially for advanced players. If I feel unqualified to teach you, or if I feel you will benefit more if we work in conjunction with another teacher, I will not hesitate to tell you. Since I have many unique tools to help you practice and learn more effectively, to approach your music and your instrument with less tension and more enjoyment, and to develop your unique musical voice, I feel that most students of all levels can benefit from some time in my studio.
What styles do you teach?
I teach classical technique, based especially on pedagogue Ivan Galamian, combined with my synthesis of the brain research I have been exploring since 2005. I also incorporate various fiddle and world music genres into lessons depending on the student’s interest and intent. We learn to read music, but also learn tunes by ear. I’m a stickler for good technique, which leads to good tone, but I try to incorporate it in a way that keeps playing fun and rewarding. What’s more rewarding than awesome tone anyway? My goal is well-rounded musicians who can be comfortable in orchestras as well as jam sessions. I’m not a traditionalist, though we use it as a starting point, and in many cases an ending point, especially in classical music. Ultimately, I want each student to understand that music is an exploration, a crafting of story though song...not a true or false quiz!
I had a bad experience with a previous teacher and almost quit playing. I’m afraid this will happen again. What can to you say about this?
I’m sorry you had this experience, but I’m glad you’re willing to give lessons another try. Over the years I’ve received many students who’ve had such experiences and so far have been able to help all of them regain their self-confidence and rekindle their joy for playing the violin or the viola.
Teacher-student rapport is very important. I feel that cultivating this relationship takes precedence over anything that I might try to teach you. If the relationship is unhealthy it’s doubtful we’ll accomplish much learning. I feel that my greatest teaching assets are my genuine interest in each student as a person, my enthusiasm for not just playing violin and viola, but teaching, and my willingness to try as many approaches as it takes to deliver the information I am trying to impart in a way that the student can understand.
I’ve learned the importance of putting aside my own agenda and instead responding to what most needs to happen in each moment. Zen teaching I guess. This doesn’t mean I let my students run the show, but I do respect that they have their own needs and interests and I work to balance these with my need for a methodical teaching style and environment conducive to learning. The fact is that not all students will go on to be professional musicians. However, I feel that all my students can go on to be happier, better adjusted, and more empowered people.
I am a beginner on violin/viola and don’t even know how to read music. Is this a problem?
No. Even if you learned to read music on a different instrument you’ll still need to learn how to connect the notes and rhythms on the staff with the fingerings and bowings on the violin/viola. Music reading is part of what we learn in lessons and in a way it’s easier to start from scratch because then we can catch all the details the first time around.
I’m a beginner. Do I need to get an instrument or do you have them?
I do not have instruments for students to rent or borrow. An instrument will need to be acquired by the first lesson. Contact me or read on further for assistance finding a suitable instrument.
Should I rent or buy my instrument? Where?
If you are just starting out, both renting and buying are good options. Renting is nice because it lets you “get your feet wet” without having to make a purchase that may go largely unused if the initial excitement wanes. Also, if you have no idea what type of sound you will personally like in an instrument, renting lets you get started and develop some technique to go back to the violin shop with after a few months and try out on potential instruments.
If you have a budget closer to or upwards of $1000, it doesn’t hurt to give yourself a couple of months with a rental to learn “Twinkle” and a scale or two so that you can than make a more informed decision. If your budget is closer to $300 and won’t be changing anytime soon, it makes more sense to me that you buy, as the cost of renting for a few months will quickly start to become what it would have cost to purchase from the start.
If you’re planning to purchase, please go with a well set-up instrument from a good shop or a reputable online company. Do not be tempted to buy one on Ebay or the like as many, despite a glowing description, are largely unplayable. Shar Music, a company out of Ann Arbor, Michigan, calls such instruments VSOs - violin shaped objects. You get the idea.
Violin Shops I have experience with personally or through my students and can therefore recommend:
Northern California:
Oregon:
Online stringed instrument dealers I have experience with personally or through my students and can therefore recommend:
I’d like to work on my ensemble skills. Is this something we can focus on?
Definitely! I love playing duets with my students and coaching duets or chamber groups of students. Of course, individual technique takes precedence and will need to be addressed before we can get very far in the ensemble setting. Once individual issues are worked through I will help you learn to fit together the rhythms of the various voices and to micro-tune the ensemble’s intonation. We will learn how to match sounds and moods, balance solo and supporting parts, and stay true to the style of the music while incorporating personal expression.
My spouse/friend/sibling/parent/child plays an instrument other than a violin family instrument. We want someone to help us learn to play together. Is this something we can work on?
Definitely! (See ensemble skills section above for more.) Whether this other instrument is a piano, banjo, clarinet, or a percussion instrument, the basics of ensemble playing, no matter what the genre or instruments involved is the same - intonation, rhythm, dynamics, solo versus supporting, etc. I may not have the terminology to offer individual technical instruction for your music partner, but I can certainly sing, motion, or play on my instrument an idea of what it should sound like. I recommend that you and your music partner also take individual private lessons.
Do you ever give parent/child lessons, or lessons with siblings or friends who want to learn together?
Yes, though individual private lessons (excepting parent/child lessons with a very young student) are generally more effective in my experience. As long as the students are equally motivated and can be focused in lessons I am willing to give it a try with two together. Another option is, say an hour lesson where both students are present, though I first work with one individually, then the other, and finally both together at the end.
What’s your experience with group lessons? Would you come to our school and help our string class?
I have taught group lessons and have been a string coach for Youth Music Monterey in Monterey, CA, for the Orchestra in the Schools Program at All Saints Day School in Carmel Valley, CA, and for the Monterey Bay Charter School in Pacific Grove, CA. (Please see my Resume for details.) I’m happy to discuss coming to your class or orchestra.
What types of performance opportunities are available to students?
I encourage students to participate in their school or youth orchestras, community orchestras, camps, and/or fiddle groups and the performance opportunities inherent to these, depending on their age, ability, and taste. I can provide information about these and will help you prepare for auditions if and when necessary. For solo or small ensemble work I provide opportunities to share with the community throughout the year.
When do you schedule lessons?
During the week. Please call me to check my current availability: 831-224-0913
My work/class schedule varies or I sometimes have last minute obligations. Is this a problem with scheduling?
Possibly. If you generally have a few weeks notice and it only happens once in a while (not more than once every three or four months) we can probably work around it. My studio functions on students paying tuition for a month or more at a time and coming once a week at the same time. This regularity is important to maintain the commitment to lessons and practicing. If your schedule often changes at the last minute, you may need to rethink the space you have for lessons in your life right now. Cancellations with less than 24 hours notice can generally not be made up. I often just don’t have the time to accommodate students who can’t make their scheduled lesson time. Tuition for missed lessons will be forfeited.
Follow-up: Can I take lessons every other week rather than once a week?
Possibly. This depends on my current schedule and your flexibility. If I can fit you in at the beginning or the end of one of my teaching days this can work just fine. If you need a time in one of the prime time spots in the middle of the afternoon I only fill these times with students who will come every week. If this is the timeframe you want and you can find a friend who will come on your off weeks, I’m willing to consider the possibility.
Follow-up: Can I take lessons once in a while?
Certainly. I have several students who come once in a while for a lesson, either because they live out of the area or just don’t have the money for regular lessons. With at least two weeks notice I can probably find a spot to accommodate you. If you are out of the area, you might consider more regular, even weekly, online violin/viola lessons with me via Skype and in-person lessons once in a while with me when you come visit, or if I happen to visit your area.
How do your live online violin/viola lessons via Skype or iChat work?
The same way as in-person lessons except we’re not in the same room, or even on the same continent! Please see my blog about the Skype lesson launch and page about violin/viola/fiddle lessons via Skype for more information.
What support do you offer students outside of lessons?
I am always available to answer questions by phone or email. As needed or requested I will make practice recordings. Also, check out my podcast for more help with technique and ear training.
Do you have other questions about Laurel Thomsen’s teaching methods/style or lessons with Laurel in general?