<p>What experience has anyone had with Conservatory teachers who have big touring schedules? I know I am fretting a little too much over this, but my son's applied teacher for his first year spent most of last year on tour. I don't want to violate my son's privacy and independence by calling the school and asking about the protocol for lessons missed, etc. He is so excited to work with this artist that he is fine with things left as they are. I worry that IF he has issues with this next year, will it be hard to change teachers, etc---I know, I'm being very neurotic!!</p>
<p>The schools I'm familiar with have stated policies regarding lessons missed by teacher due to tours, etc. You may be able to find this in the school's handbook - this may be available on-line. </p>
<p>In general, the student has paid (tuition) for a semester's worth of lessons and is entitled to a given number. The places I know of require the teacher to make up lessons missed. I suppose some teachers have teaching assistants that fill in the gap, but I haven't personally encountered this situation.</p>
<p>I empathize with your concerns over your son's independence! However, as a parent, I think I'd have the same concerns!</p>
<p>I know that one teacher with whom my son was interested in studying has a very busy tour schedule. Our understanding was that if he got this teacher, the lesson schedule might be erratic, and that there might be only one or two lessons a month, but that they would be very long lessons, so upwards of two hours each. </p>
<p>I don't think this approach would work for everyone (and my son subsequently decided against this particular school and teacher), but it seems fairly common with well known traveling teachers. I know at one school the teacher went on and on that he was a "resident" teacher, and didn't travel at all. My son thought less of him than the real gigging musicians/teachers!</p>
<p>I think I would want to ask too.</p>
<p>The teachers at my S's school trade off now and then, to help each other out if one has to be gone for a long time. The other teachers in the studio might hold master classes for the absent teacher's studio, for example. When S's teacher got sick, Juilliard hired a sub.</p>
<p>But it was something we talked about back when he was applying to different schools. He had been interested in one school because he liked the teacher, but dropped the school after he talked with some students there. They also liked the teacher a lot, but he was travelling quite a bit, and younger students were being taught instead by a TA. Not what my kid wanted.</p>
<p>At another school, a teacher he was interested in was having some health issues. His studio was being "covered" by the other teachers, but my kid wasn't as thrilled with the other teachers. He opted to not apply there, either.</p>
<p>It's definitely worth asking about when looking at schools. Especially if there is only one main teacher for your instrument. Every school we looked at had a plan in place - some combination of make up lessons, longer lessons, subs, master classes.</p>
<p>I do believe that there is a very relaxed passing back and forth of students among teachers in this quite small jazz department, so I guess my son's initial answer to my question about this is probably correct: lessons will be made up--! Thank you for all the input. I feel better now!</p>
<p>DD and her best friend are in 2 different studios, same school. DD's teacher has retired from performance but her friend's has not. DD's teacher is always there if there is anything she needs, has consistent lesson times and studio times. DD's friend has had periods where her teacher was not there. The lessons were made up and I am not sure about studio, whether a grad student conducted it or they just skipped it. Both have done well, but for DD having the teacher there is much better for her learning style, which takes the consistency provided. Her friend did not need that to progress. </p>
<p>Find out what the teacher does and know what your student needs.</p>
<p>Both teachers on my son's instrument are equally compelling to him, which is good.</p>
<p>M S has had this situation for the past two years. His teacher had extensive tour schedules both years. S received all lessons due him, but he was at times frustrated by extended gaps between lessons. From the start, they doubled up with two hour lessons, but I think they were making up quite a bit toward the end of each year. Not the best situation, but in this case, nothing to be done. This teacher is moving on; S will have a new teacher and a new experience next year. He liked the old one, but seems to be looking forward to the new.</p>
<p>Spelmom, that was something I was concerned about: gaps between lessons and the accompanying disconnectedness that might bring. I think I have decided to give the school a call. I am a consumer after all. And find out what the policy is because I haven't seen it stated anywhere. My son is working at a sleep away camp and is not only out of communication but in the fantasy world of camp, so it is frustrating not being able to talk this over with him at this point. </p>
<p>I do think that past experience has shown that the ensemble director becomes a close mentor as well, and, in this program, students choose one teacher from another instrument for general instruction. I think a conversation with the department wil put this in perspective. It almost seems as if the primary instrument teacher could be functioning like a master class teacher if the schedule is inconsistent enough.</p>
<p>Yes, I would ask about it, and your son might get a more complete picture by talking with current students. My son's situation was definitely improved by his participation in one of the school ensembles, which had a busy schedule this year, his strong improv class and good teacher there, and a great combo placement. But the less than optimal situation with the teacher was an issue, and I am hoping that things will be more stable with the new one.</p>
<p>When my S's teacher died last year, he finished his senior year by alternating among the other 4 faculty members. While it was great for him to experience the different strengths and teaching styles of each, it was a difficult time to be without a mentor. Last semester, senior year, you really need one person who cares a great deal about how you are doing, what you are planning, and knows you well enough to give you personal, specific advice. He didn't have that. That is part of the reason, I think, that it took so long to diagnose his dead horn. </p>
<p>I believe all things work together for good, and he is where he should be. He has a new horn that he is playing well, and has the immediate future planned out. But it seemed awkward timing. Taught us another aspect of the value of a great teacher.</p>
<p>This brings me right back to my initial dilemma, which is to stop micro-mothering and let the chips fall where they may. He is at a great school, and it's time to...let...go!</p>
<p>I don't mind letting the chips fall where they may, except when there are tens of thousands dollars on the line. Then, I feel like I can micromanage an eensy bit more. If parents are footing the bill, it seems not at all out of line for them to at least feel comfortable that issues such as this are resolved satisfactorally. When the kids are paying on their own, they can decide if it is worth following up with questions or not. Most 18 year olds would not do this, particularly if they aren't paying.</p>
<p>Just my $.03~! ;)</p>
<p>Very enlightening thread.</p>
<p>Alot will depend on the extent the private instructor is unavailable. My son's instructor was in performance/giving masterclasses three to five times a semester over his time as an undergrad. Was always given/offered a make up lesson, which he occasionally would pass on depending on what he was actually working on. On the flip side, he had a few extra lessons at no charge for jury, recital repetoire if he requested it.</p>
<p>When required studio classes were run by one of the grad students, or the section principals.</p>
<p>Alot will depend on the on-campus time and accessibility to the teacher. A heavy performance or off-campus masterclass schedule, health issues as binx mentions, or personal issues (son's teacher became a dad one semester, which made for a couple of erratic weeks) can cut into private lessons. Some of these can be addressed upfront as valid questions/concerns prior to committing to a teacher. Some absences are beyond control, and will require flexibility from both teacher and student.</p>
<p>Inflexibility, unwillingness to reschedule, or general inaccessability to the instructor may be issues with any particular instructor. IMO, it's best to try and avoid this scenario even it it means giving up a "big name."</p>
<p>Just to add another related perspective:</p>
<p>When S was looking at conservatories several years ago, his teacher suggested avoiding those schools where the profs are "paid by the teaching hour" and do not spend extra time at the institution where the student is enrolled. S's teacher felt stongly that undergraduate students should have access - even though brief - to their teachers outside of scheduled lesson time in case there were questions. Teacher felt students should be able to stop by to ask questions or to verify that they had understood the lesson instructions and were performing a technique correctly - rather than to practice incorrectly for a week or more. (Presumbaly these questions would require a bit more interaction than an e-mail contact would allow.) Teacher's views were based on over 30 years of teaching experience at several major conservatory and university based music depts.</p>
<p>S did end up at a conservatory with teachers who, for the most part, are there from week to week. At most, I think S has gone 2 weeks once a semester without seeing his regular teacher. And, ironically(?), his teacher encourages him to stop by to confirm that "all is going correctly" or ask questions as needed! This situation definitely worked best for him for his first 2 college years - and he entered conservatory at a more advanced and extensive literature level than many of his peers. At this point entering junior year, I'm seeing much more maturity and believe he could handle and still progress with less frequent lessons or teacher interaction if necessary. </p>
<p>I suspect this question of lesson "regularity" is a very individual decision as to what is best for any given student. Much seems to be based on individual maturity and learning style. However, I did want to share our experience for what it's worth!</p>
<p>Hate to tell you, but most lesson teachers are paid by the lesson hour. Things have probably changed since his teacher was in school. At the big conservatories many teachers teach in multiple institutions or have full time careers in Symphonies, etc. It's rare in a conservatory to have a teacher who is "there all the time". Some of the LA schools with good music departments/schools will have teachers who are full time private teachers.</p>
<p>My S has teachers who are "part-time" at school; full time performing artists. My D's teacher is full time at school; part-time performing artist. (S goes to the better music school. I think this is typical of the situation, despite having only a sample of two.) Both my kids have their teacher's phone numbers and email, and communicate regularly.</p>
<p>Check each schoool's policy - not all teachers across all instruments are paid "by the hour". </p>
<p>To be specific, S's previous teacher - currently salaried at a major university - felt his string colleagues at several of the NYC conservatories were unfairly compensated due to this "pay by the hour" policy - and that as a result, they spent little additional time with students. These are teachers who make their living as pedagogues - some of great renown - and not as symphony players. </p>
<p>Also, teacher was speaking from a string perspective as is mine, and I will admit, I forget that the other areas of the music world are different! I would guess that in the woodwind and brass areas where a conservatory has fewer students and the teachers are also performers, full salary is not as common as in string or piano departments.</p>
<p>I agree, many schools do have "pay by the hour policies" - personally been there, done that - but my point in the previous post was to point out one perspective. If this isn't of any value, I'm happy to stop posting.</p>
<p>My S actually liked not having weekly lessons, so the lessons twice per month were not a problem for him. I think the situation became problemmatic when the teacher was out of the country for extended periods. For the more mature, independent student, this situation can be managed--I agree with musicianmom there. But for someone whose discipline fluctuates (like my S), it just wasn't the best situation. </p>
<p>I was aware of the problem, but never intervened directly. I would just question my S at every opportunity about his lessons, how they were going, when he had had his last one, etc. in an effort to motivate him to stay on top of things and make sure he got all his lessons in. He has really grown up in the last year, and I can see that he has a better grasp on the pros and cons of his program overall, and is much more assertive and proactive about asking questions and taking necessary steps to handle situations, whatever they are. While he respects his teacher and enjoyed working with him, I think he understands that the relationship was somewhat lacking, and so he is not particularly upset or disappointed with making a change. Hopefully, the new teacher will be more available both as teacher and mentor/supporter.</p>