MT: Who is your workshop aimed at?
TG: This workshop will be useful for instrumental teachers in a variety of settings, including Wider-Ops group teaching to pre-college individual lessons, and orchestras and ensembles. As a string specialist, I'll be drawing on teaching examples particularly relevant to string teachers, but teachers of other instrumental families should find it useful.
MT: Your topic is intriguing because it's ingrained in us from an early age that we should avoid making mistakes – and musicians are particularly conscious of the need for accuracy. You seem to be contradicting this.
TG: Mistakes happen. Indeed, without them we wouldn't be able to learn or develop any skills. In my presentation, we will explore how a comfortable learning environment leads to a greater sense of cohesion by prioritising exploration over precision, finding a more expressive path to clarity and cohesion in our music-making.
MT: What is the best way to learn from our mistakes?
TG: While a fear of mistakes may be a motivator in some instances, it can often lead to anxiety and tension that can paradoxically make mistakes more likely to occur. Our attitude towards mistakes can have a profound impact on how we practise and teach. With a healthier attitude towards them, it's possible to learn more from our mistakes.
MT: So are you saying that mistakes don't matter?
TG: There is a hierarchy of mistakes. As Beethoven famously said: ‘To play a wrong note is insignificant; to play without passion is inexcusable.’ If, as teachers, we prioritise technical minutiae, it is possible for a student to lose sight of the broader objective, which is to communicate.
MT: How should a music teacher approach this?
TG: Every instrumental teacher is first and foremost a music teacher. The instrument is only the tool through which we express our understanding of the music we're playing. As such, a teacher's first priority is to encourage their students to gather an understanding of what the musical character, or dramatic purpose, may be. With a clearer sense of the musical context, a student is better equipped to identify and address their mistakes and develop a more effective practice strategy.
For example, the approach to practising a dance-like piece versus a dark and brooding elegy can be quite different. There are no set rules, but without tapping into fantasy and imagery, a student can get stuck in a world of technical difficulty. It is the teacher's responsibility to help their students find higher meaning in their practice. This is the case with absolute beginners just as much as it is for an advanced student.
MT: How will you demonstrate this in your Expo session?
TG: In the workshop we're going to explore creative ways of addressing technical issues in a holistic and efficient way that helps to avoid restrictive movement and tension. For example, we'll look at how to use imagery and fantasy to focus attention right from the beginning – in the early years, with imaginative teaching strategies, it is possible to fix technical issues without the student necessarily noticing. We'll also look at how to improve intonation in a positive way that gives agency to the student, guiding them towards better practice habits, improving their motivation and self-reliance. We'll try out practical examples for the beginner and the more advanced individual student.
In addition, we'll discuss ensemble rehearsal strategies for both chamber ensembles and orchestras, and how coaches and conductors are best placed to effect change and bring greater cohesion to the ensemble – it isn't always obvious how best to solve ensemble issues.
MT: What do you anticipate being the knock-on effect on students?
TG: Encouraged to focus on the broader picture, students can develop a more positive attitude towards their playing, to be more responsive with less fear and anxiety. They can develop complex skills in pursuit of freedom of expression, effectively learning by mistake.
You can hear more from Thomas Gregory at the Music & Drama Education Expo 2025, which takes place on 30 and 31 January at the Business Design Centre in London. View the programme and register for free on musicanddramaeducationexpo.co.uk
