Paul Harris is a highly respected and revered music teacher, author and educationalist, who is single-handedly changing the delivery of instrumental and vocal teaching. Paul, who has over 700 publications to his name, is in great demand as an examiner and adjudicator. He also leads workshops and seminars all around the world.
As a pianist and teacher, I have admired and explored a collection of Paul’s helpful and erudite books. Some books are devised for students, such as the excellent Improve Your Sight-reading series. Others are designed for teachers, like The Virtuoso Teacher and the equally essential Improve Your Teaching. Faber Music are renowned for their dedication and commitment to music education. Faber has published Paul Harris’ books for over 20 years. It was a privilege to attend the launch of his latest publication at their head office in London last week.
Simultaneous Learning: The definitive guide is the culmination of Paul’s approach to instrumental and vocal music teaching. It’s a philosophy which empowers students, enabling them to become confident, individual, creative musicians. It focuses on positive, imaginative teaching where all the elements or ‘ingredients’ of music are connected. The teaching gives rise to lessons that are full of joy and enjoyment. It cultivates a love for music and introduces a thorough musical understanding. This organic, holistic path aims to banish frustrated teaching (and teachers!), by providing specific tools so that pupils will flourish. Paul believes that every student, regardless of their standard or ability, can make progress through the Simultaneous Learning method. He also thinks every instrumental tutor can easily become a Simultaneous Learning teacher. I’ve integrated this concept already. It has definitely transformed my teaching and the way I present lessons.
The book is succinct and easy to read. It’s full of innovative ideas to engage pupils. Paul insists we must move away from the misguided ‘reacting to mistakes’ style of teaching. The myth of ‘difficult’ is brushed to one side and replaced with more fruitful ways of teaching pro-actively, in a non-judgmental, inclusive, friendly manner. Each lesson activity is carefully set up. It feels ‘natural, inevitable and sequential’. The activities make connections through various elements. These include investigating rhythm, scales, theory, improvisation, aural, and musical detail. The learning patterns are interesting and inventive. Often, these occur before any instrumental playing or singing commences. It employs a Simultaneous Learning Map to base these elements around pieces and songs which helps students become complete musicians. This approach contrasts with teaching a few random pieces and a couple of scales, which is popular in ‘old-fashioned’ teaching.
Each chapter guides us through the various processes needed to become a Simultaneous Learning teacher. It meticulously plots our journey by suggesting practice methods. It also offers teaching methods and ideas. I particularly like the ‘Points to Ponder’ and ‘Practical Exercises’ which conclude every chapter. Also useful are lesson plans, for beginners through to advanced pupils. This book is very practically based employing clear language, using plenty of learning ‘maps’ highlighting and reinforcing Paul’s concepts.
It’s relatively simple to adjust our teaching by using this philosophy, and conversion does not have to occur overnight. It is not a rigid or inflexible concept. Teachers can select what they wish to include in lessons and can gradually increase the Simultaneous Learning theories.
This publication might be considered an instrumental or vocal teaching ‘bible’. It is suitable for all those connected with music education. It could even be successfully applied to other subjects or genres too. Paul sums up Simultaneous Learning in one phrase: ‘its essence is that learning happens through making and embedding meaningful connections in a positive environment’ (chapter 6, page 35). If we change our approach to music teaching, then we can make a significant difference. This change can transform a pupil’s whole musical experience.
