Why do I need private cello lessons?
As someone who has studied music from a very young age, I am a firm believer in the importance of music education. There are so many benefits to learning a musical instrument, from development motor skills, physical strength, and cognitive ability, to learning a creative form of personal expression, and practicing the discipline it takes to learn new skills.
How wonderful is it that so many schools offer music as part of their curriculum! However, the demand on school music teachers is so high that many students are not getting the one-on-one support they need and deserve. I have personally seen the significant difference it makes when students invest in private lessons. Every person learns a little bit differently, and has different needs when it comes to developing their skill. In lessons, I strive to meet the students where they are, and to give them the tools they need to succeed.
What is a good age to start lessons?
The Suzuki philosophy is that every child can learn! In my studio, students can start private lessons as early as age three, but it is never too late to start. I have taught beginners ranging in age from 3-72 years! For children under the age of three, there are teachers who offer early childhood music education classes. You can visit the Suzuki Association’s Find A Teacher page to find an early childhood teacher in your area.
What is the Suzuki method?
Briefly, the Suzuki method is a philosophy developed by Dr. Shinichi Suzuki that focuses on the ability of all students to learn, with the proper combination of hard work, parental involvement, and a lot of love. There are ten books in the standard method, which take the learner all the way from the beginning to college level playing. You can learn more about Dr. Suzuki’s method by visiting my Suzuki Philosophy page or the official Suzuki website.
Do you use any other sources outside of Suzuki?
Yes! There is a whole world of cello repertoire, including etude books, sight-reading methods, and more that can be used in the process of learning the instrument. While I follow the Suzuki books as my main source in teaching, I use other sources to supplement whatever the student may need at any given time. These sources will be discussed in private lessons as needed.
I’ve heard that the Suzuki method focuses a lot on learning by ear. Will I (or my student) be getting enough practice with sight-reading on this method?
This is a common concern for those who may not be familiar with Suzuki. While each Suzuki teacher has their own unique approach, it is my personal belief that sight-reading and ear training are both very valuable aspects of musical learning. I typically start students off with a 100% by-ear approach, and then once they have the fundamental techniques in place, I introduce sight-reading as soon as possible. My favorite outside sources for sight-reading are I Can Read Music by Joanne Martin, Piatti’s Method for Cello, and Rick Mooney’s Position Pieces for Cello.
What should I do to prepare for my first lesson?
I recommend first taking a look at my studio policy. You will find great information to get you started here, including what to expect in lessons, and what materials you will need. In addition, you should familiarize yourself with the Suzuki method by reading my Suzuki Philosophy page, and exploring the Suzuki website. Finally, the best thing you can do to prepare for music lessons is to start listening! You can start with the official Suzuki recordings (which can be found on iTunes), then try exploring YouTube for whatever you can find. Here is a list of my recommendations for listening.
What kind of performance opportunities are available for students?
I try to offer as many performance opportunities as I can for students. I believe that having a goal such as this can be a powerful motivator for students to polish their playing, as well as give family and friends the opportunity to enjoy and celebrate students’ progress alongside them.
Students have the option to perform at school wide recitals hosted by the Claremont Community School of Music, which take place roughly every two months. In addition, I schedule a cello studio recital once a year (typically in May-June), that features only my students. Students also have the opportunity to participate in the National Federation of Music Clubs Junior Music Festival, as well as many other competitions, festivals, and community events throughout the year.
What’s the difference between group lessons and studio class?
While the main purposes of group lessons are refine and review, studio class is more focused on the ensemble aspect of playing. During studio class, we will spend time rehearsing cello choir music for special performance opportunities in the community. There will also be time during studio class for students to perform for one another, and receive a mini-lesson, which the whole studio can benefit from.
Currently, studio classes take place every other month, in place of your private lesson for that week. Studio class comes at no extra cost to you if you are already a student in my studio. Students outside my studio may also join any studio class event for $30/class.
Why should I attend group lessons?
Group lessons are an essential component of the Suzuki approach. Here, students have the opportunity to refine the techniques and skills learned in their private lessons, review past material and preview what is to come, and build a strong cello community within the studio.
How much do cello lessons cost?
Please see my studio policy for current rates. Tuition is charged on a monthly basis, and includes 30 private lessons, and 4 studio classes.
How do I get started?
If you’re ready to get started with lessons, simply contact me using this form! Let me know as much about yourself as you’d like, including the age of the student, previous musical experience, goals for the cello, etc. Moving forward, we will set up a time for a trial lesson to determine if we are a good fit. There is no need to commit to a full term of lessons until after the initial trial lesson is completed.
Jocelyn Francis, Cellist 