Teaching

Louise’s recent teaching experience includes coaching chamber music at the
University of Auckland and Juilliard's Pre-College Division, as well as giving
cello classes at Wichita State University (KS), University of Virginia, and
Grand Valley State University (MI). In New York City, she has taught at the
Third Street Settlement’s outreach program at PS 34, at the Lucy Moses
chamber music for adults evening program, and given private cello lessons
at Greenwich House Music School in Manhattan and Closter Music in New
Jersey. She coaches young orchestral cellists in the Greater Newark Youth
Orchestra and Chamber Orchestra (a program run by the New Jersey
Symphony). Louise teaches private cello lessons at her home on West 190th
Street in Manhattan, in Scarsdale NY, and at Greenwich House Music School
in Greenwich Village (for lessons at Greenwich House please call 212-242-
4770).  Please feel free to contact Louise via the Contact page of this
website for more information.

How I Teach

I am finding, in my work as teacher, cello section leader, and recitalist,  that
cellists often have many similar challenges to overcome in their playing.  My
teaching style relies on general principles that may seem simple intellectually
but can offer a lifetime of problem-solving applied in different playing
situations.  They guide my approach to the instrument and how I teach from
the first lesson.  Not only are they the keys to get the instrument to sound
its best, but they provide ways to play without the unnecessary tension
which can cause bad habits, pain or injuries.  

Some examples:  1) Finding ways to play that exploit the natural arcing
motions of the arm, originating from the back muscles.  2) Holding the
instrument and bow in ways that allow these motions to occur.  3) Finding
the natural weight of the right arm and learning to release it into the string
rather than hold it up in a way that accumulates tension unnecessarily.  4)
Starting with whole arm legato long bows as the basic stroke, and using this
to determine arm placement on all strings in all parts of the bow, which is
useful for all bow strokes.  5) Establishing left hand positions that distribute
muscle tension evenly, and releasing tension in non-playing fingers.  

These are not always easy things to master but in my strong opinion they
should be learned as soon as possible in one’s study of the instrument. They
are keys to improving one's playing at any stage of study. Once these and
other principles are understood, the student applies them to different
situations and becomes skilled at problem-solving independently.

For my younger students, while I teach ways to play that promote healthy
use of the body, I minimize verbal explanations unless asked (usually
questions are asked and I answer them as they arise).

Musical playing guides many of our technical decisions. Playing musically, for
me, generally involves analyzing the music (phrase lengths, harmonic
developments both local and overarching, etc.) away from the cello, and
when applicable, playing as if singing or talking.  There is a lot of creative
freedom in this part of music. Similar to the application of technical principles,
there are musical concepts that can be introduced at the very beginning of a
person’s studies of music and returned to, in greater depth, for a lifetime.

Teaching Philosophy, Short Version: My teaching style for my students of all levels relies for on physical principles that use the body in healthy, natural ways. I also teach students to rely on their own ears to make the cello sound its best. We make this fun by setting and attaining goals in the lesson and similar goals for home practice, including preparing duets to play with me. Some examples of technical principles that my students of all ages learn: holding the instrument and bow in ways that allow the natural arcing motions of the arm to occur, learning how to release the natural weight of the bow arm into the string to make a ringing tone without pressing, releasing left hand tension in non-playing fingers. Not only are these essential to get the cello to sound its best, but they provide ways to play without the unnecessary tension which can lead to frustration and bad habits. My students hear the good sounds they are making and this motivates them to practice to hear more! There are also musical concepts (sight-reading, phrase lengths, harmonies, etc) that I begin to introduce early on in my pupils’ studies. My role is to supply my students problem-solving skills that they can return to, in greater depth, for a lifetime.
--Louise Dubin