First piping school: How much is too much

[Ken_C]

I'm a new player and enjoying it. Started last October with a "group" class in a city near me that was just me and a more experienced player. After about 4 weeks - much sooner than lore led me to expect - I could play some simple tunes, I think because my right arm was finally working on its own. I took Joey Abarta's class at the Potomac Piper's weekend in January and appreciated how he found tunes I could manage but learn from - it was great.

In a second round of the local class this winter a precocious young player has joined us and I'm left in the dust. After this week I'm going to take a break from the group class and work at home for a while on tunes that aren't so far above my level - I can feel I progress fastest, as on other instruments I've learned, by putting on shoes that are only a little too big for me!

My question is this: I'm in the eastern U.S. and want to go to the Catskills week this summer (with spouse, she has already chosen two classes - she'll love her first intensive music week, I know). I'm wondering if taking pipes (basic) both morning and afternoon (same teacher) rather than just once a day will overload me and leave too little time for practice, or is it a better experience that way? I'm old enough (59) to need to treat my joints with care and forebearance. I'm also wary of taking on too much and getting frustrated in the process. Perhaps I should write the teacher and ask? What is your advice?

Cheers,
Ken

[daveboling]

Write the teacher and ask. I don't know Caoimhin, but if he's good enough to get booked for that event, you can bet it won't be the first time he's taught.
If you can't get hold of him, Benedict Koehler and Kevin Rowsome are also teaching. Ask them.

dave boling

[vanfleet]

Hope you don't mind if I chime in. Take classes with two *different* pipers when you have the chance. You'll learn something different from each. If you can get a class with Benedict, he's an outstanding teacher.

vanfleet

[An Draighean]

My question is this: I'm in the eastern U.S. and want to go to the Catskills week this summer (with spouse, she has already chosen two classes - she'll love her first intensive music week, I know). I'm wondering if taking pipes (basic) both morning and afternoon (same teacher) rather than just once a day will overload me and leave too little time for practice, or is it a better experience that way?

Totally depends on the teacher. Some teachers, all they do is teach you a different new tune every session. When this is the case, then yes, there is little time for practicing it before you have to learn the next one. Best thing to do in this case is to record the teacher playing the tune(s) on your phone or other device, then you can practice them at home after the week is done.

In my opinion, the best teachers (for me anyway) will teach/work on techniques, then apply the new or improved technique in a tune setting as an example. Sometimes the tune will be a new one; sometimes they may ask you for a tune you already know, so that you can see how the technique applies without having to learn a new tune from scratch right then. A good teacher will make an effort to empathize with the class, that is, to discern their several abilities and base what they teach on that. My favorite teachers (so far) in this regard are Brian McNamara and Kieran O'Hare.

I have also had some fairly big-name pipers as teachers, that were not excited about teaching beginners, and it showed. To be fair, possibly they were just having a bad day or something at that time. The semi-obvious point being, that being a great piper does not necessarily equate with being an excellent teacher. There are two different skill sets there, that overlap in some but not all individuals. Best to go into the class with an open mind, and the determination to learn something from it, no matter what. I have only ever come across one teacher that I would not care to take a class from again.

[Ken_C]

To bring this full circle, the Catskill Irish Arts Week has now altered the schedule so that Basic piping has different teachers morning and afternoon. I'll sign up for both and see how it goes. Thank you to everyone for your experience and wisdom.

Ken

[Flutulator]

Hope you don't mind if I chime in. Take classes with two *different* pipers when you have the chance. You'll learn something different from each. If you can get a class with Benedict, he's an outstanding teacher.

vanfleet

^
Yes, seconded, absolutely - Benedict is a fantastic teacher.

[ImNotIrish]

Personally, if at all possible, make plans for the NE Tionol (held at Gavins in East Durham). I know you have already committed to the Irish Arts Week, but keep this event in mind for future plans. With respect to classes, I always find overwhelming in the sense that there is so much information, often in the nuances of playing. It is always after the fact that I am able to make use of the information presented. Sometimes, on class has been enough. Usually an afternoon class, which leaves the morning available to practice and listening back to recordings of the previous class. Just a thought. It's not about quantity.... alternative players can be heard on recordings, or at future classes.

[Ken_C]

I've been to week-long classes for concertina 6 or 8 times, so I do know about overload (hence my original question). We'll see how it goes.

I see the NE Tionol is a weekend in mid-October. Events during the school year are difficult for me to attend since I teach. Maybe someday!

Ken

[pancelticpiper]

I have also had some fairly big-name pipers as teachers... being a great piper does not necessarily equate with being an excellent teacher. There are two different skill sets there...

Boy ain't that the truth.

I've had some strange experiences in workshops with great players, "name" players, who were clueless about teaching. I think it comes from their being unaware of how they themselves play. I have seen, many times, great players explain what they're doing in a way that varies from how they're actually playing, or fail to point out an unusual aspect of their own playing. This results in the class playing what's being taught differently than the teacher, and neither the students nor the teacher seeming to understand why.

The oddest workshop was the one with a big-name player who never played a note, never had any of the students play a note, but instead gave us an hour-long lecture about how everybody plays wrong and practices wrong. He was absolutely correct. I'm guessing that he had had one too many workshops where enthusiastic beginners thrashed through tunes at high speed with no rhythm.

[Paul Patrick]

The oddest workshop was the one with a big-name player who never played a note, never had any of the students play a note, but instead gave us an hour-long lecture about how everybody plays wrong and practices wrong. He was absolutely correct. I'm guessing that he had had one too many workshops where enthusiastic beginners thrashed through tunes at high speed with no rhythm.

Richard,

Any chance you could summarize what he said the right way to practice is? That sounds instructive. Or was it just the basic idea of go slow and work on solid rhythm?

(Sorry to hijack your thread, Ken!)

Cheers,
Paul

[pancelticpiper]

Buy a metronome, and use it.

Practice very slowly and precisely, emphasizing clean note changes and precise rhythm.

I agree completely- it's how I've always practiced. (Not that I ever got to be any great shakes as a player.)

[Paul Patrick]

Thanks Richard.

[Ken_C]

(Sorry to hijack your thread, Ken!)

Cheers,
Paul

No worries, this is all useful advice. Nevertheless, since I've been down the road learning several other instruments over the years, much of it is not a surprise (e.g., I'm definitely a metronome type).

Ken