W. Gage

How I started…

At about 5 I began taking piano lessons from the church organist. When I wasn’t practicing the little bit of piano that I did, I would go outside to play in the backyard—especially in the late light of a summer evening—and I could hear my neighbour playing the cello from his open bedroom window just down the hill. I’ve played the cello ever since.

Some influences and ideas on teaching…

My teacher at university, Dr. Tanya Carey, (Suzuki pedagogue and author of Cello Playing is Easy) helped me to release and channel the weight of my body and sing within, then through the instrument. Graduate school exposed me to the scientific and philosophic enquiry of Christopher Bunting via a graduate student of Mats Lidström. Teaching has afforded me the perspective to appreciate the principles and methods worth passing on. Exercise the body from big to small, from standing and seated positions—to the motion of the arm-hand units—to the free release to drop of a tensioned finger. Approach a challenge with humility, and trust in the refinement of error through progressive differentiation and definition, rather than in the refusal to accept that error in stubborn adherence to perfectionism. Give yourself the benefit of another chance free of judgment: reset the mind-body continuum.

My studio…

Teacher and student share a mutual time commitment both during and between lessons. I plan for and reflect on lessons, and keep handwritten and typed notes for each student. In return, I expect a student to practice at home, and to keep handwritten notes during the lesson to track overall progress—including concepts, skills, exercises, and repertoire—in a dedicated notebook. Shorter and more frequent periods of practice are generally preferable to longer and less frequent sessions. Repeatedly achieving focus on different small units of material promotes brain plasticity and reinforces the material throughout the day.

I schedule and charge for lessons per month, with the flexibility of shorter and more frequent to longer and less frequent lessons. I will always catch up a cancelled lesson at the convenience of parent and/or student. Online lessons may be considered only to supplement in-person lessons; the value of in-person interaction cannot be underestimated, especially within a private teaching context.

I value transparency: open, clear, and direct communication.

A healthy approach to exams…

It is natural to seek recognition for progress and achievement. Exams are just one of the many ways that a student may be recognised. I believe that an important part of the job of any music teacher is to provide frequent opportunities for the student to perform within the lesson itself. Performance can be practiced, and with encouragement and support from the teacher and family and/or friends, performance opportunities may be organised in a variety of contexts outside of the lesson to grow the student’s confidence.

In my experience, students have pursued a great deal of difficult exam material at the expense of the quality of their playing. I will not help you to cram Grade 5 theory to ‘unlock’ higher instrumental grades, and I will not help you to skip grades to ‘get ahead’. I will help you to gradually prepare appropriate material for an exam to receive insights from music educators who don’t know you. This very deliberate approach could provide onward impetus in your musical travels.

What sustains a lifetime of music-making is beautiful, resonant tone that feels as good to play as it sounds to you or any listener.