Teacher Feature: Christopher Sforza
A community of “music lovers”? What’s that? Simply put, it’s a group whose members have the same musical objective: to make steady progress while also having positive experiences playing their instrument. CYM teachers help student’s advance in music anywhere lessons are conducted; students manifest milestones each in their own way, and in their own time. And they are up to all kinds of amazing things!
Christopher Sforza is a violin and piano teacher who adds to the CYM community wherever he goes, bringing people together to improve and share the benefits of music. He has led thousands of lessons with an immoveable desire to help students enjoy their studies. He earned a B. M. in Music Education and an M. M. in Suzuki Pedagogy, both degrees from Ithaca College. He is a person who listens carefully, laughs easily, and delights in the process of learning, playing, and composing music; these attributes consistently bring out the best his students. We recently caught up with Mr. Chris – a highly sought after music clinician and charismatic leader:
You traveled into the far south to teach a few months ago – what was the occasion? Parker Elementary is an elementary school in Houston Texas with a long and wonderful history of Suzuki education in the public schools. I traveled as a guest clinician to teach violin students in grades K-5 at a three-day Suzuki workshop. Parker has had a Suzuki program since the 1970’s.
Name a few things that are special about the school you visited or share a story about the school or its students. Parker Elementary is a music magnet school. Students can participate in the Suzuki program for violin and cello, play wind instruments in the band, sing in the choir, or even study piano or classical guitar. The Suzuki program at this school is unique in that it is completely run through a public elementary school. Parker serves a wide demographic, many of whom come from less privileged backgrounds. Suzuki students receive weekly lessons with their teacher in small groups of 2-4 peers at a similar music level. When one student is learning the other is observing. Students also have weekly group classes with up to 25 students in a classroom. Parent or guardian participation is required with many scheduling their work around their child’s lesson day so that someone is present at the time of their lesson.
What attributes did you notice that were the same about the kids you taught there and the kids you teach at home on a regular basis? The beauty of Suzuki teaching and philosophy is that you’ll find many teachers, students, and schools share the same goals and ideas. Teaching Suzuki students I’ve never met before feels as natural as teaching my own studio here in Pittsburgh. We have a shared repertoire, a shared language. When I talk about beautiful tone, everyone knows what I’m talking about, from Texas, to Alaska, to our neighbors in Canada and the thriving Suzuki communities in South America.
What was the funniest thing that happened while you were teaching there? The most fun to be had admittedly came from being around many of my Suzuki colleagues for the first time since the Pandemic started. I was supposed to go to the Suzuki Association of the Americas biennial conference in May 2020 which as we all know by now did not happen.
What new teaching tip or game did you learn there? Explain the activity so that kids can do it at home. When working with a big group class of 25+ students it can get overwhelming to hear what’s being played. Was that a wrong note or was that side of the room just really out of tune? I observed one clinician doing “my turn, your turn” to get students to practice, review, but also figure out where musical issues might be. Without missing a beat she would say “If you’re wearing a blue shirt play this…” She plays, then if all goes well only a handful of students will echo back. “If you’ve got blond hair play this note…, if you’ve had a birthday this school year play this note…” I’ll be doing that with large groups from now on.
Since you have been back, how has your teaching changed because of the influence of being with the kids in Houston? Since being back my thoughts on our post-Pandemic music world have been strengthened. We’ve all missed it and some of us might be a little rusty, students and teachers alike. Give everyone you encounter grace and understanding. Work with what you have and know when to ask for help.
You have again been invited to be a guest clinician at the Ithaca Suzuki Institute this summer – that’s quite an honor. Tell us what is so special about the place and program there. The Ithaca Suzuki Institute as well as the city of Ithaca, NY in general have a long and wonderful history directly tied to Suzuki education and philosophy. Shinichi Suzuki himself taught on occasion at the college campus and inspired a whole generation of musicians. I am returning this year to teach elective courses in musical composition and arranging and perhaps a few master classes along the way. Veteran Suzuki pedagogues, many of whom at one point or another traveled to Japan in the 70’s and 80’s to study with Suzuki, and fresh newcomers to the philosophy will mingle together for two-weeks in the tranquility of upstate New York and the Finger Lakes.
What happens at a Suzuki Institute that does not occur during a regular school year or in an ordinary individual lesson? What can a family get out of going to a Suzuki Institute? Most Suzuki institutes happen in the Summertime when kids are out of school and traveling is less of an issue for families. Institutes are musically rich environments packed with activities, concerts, and of course playing. Students and families at the Ithaca Institute travel from around the United States, a few even coming from parts of Canada, Mexico, and Central/South America. These traveling families mostly stay directly on the college campus in dorms and in student apartments. Each day of the institute follows a similar structure with different events and activities happening in the evening. Students receive a “masterclass” lesson with their assigned institute teacher in groups of 2-3 students. When it’s your turn, the other students listen and watch. Other parents and guardians even take notes for the students currently having their lesson. After your lesson you might have your enrichment class, such as my course in composition. Other offerings include “viola for violinists”, a class designed to teach violin players viola technique, a fiddling course, a children’s choir, a beginning orchestra, an advanced orchestra, and a course in Dalcroze, a body movement class with emphasis on musicians. At some point there will be a break for lunch where everyone can meet new faces and make friends. When you come back you may have your “group class” with upwards of 15 – 25 students at similar playing levels. Every group class has a designated piano accompanist and is filled with playing, games, review, and most importantly fun. Every day there is a student recital in the afternoon where pre-selected/auditioned students get to perform in one of the beautiful concert halls on campus. Later on in the evening there could be a faculty recital, an ice-cream social, or another fun event to round out the day. At the end of the institute each week, there is a “grand concert” which features every student.
What happens at the Ithaca Suzuki Institute that does not happen at other music camps you have attended or taught at – is it the same? Institutes are special because you get to see the large Suzuki community and philosophy happening in real time. As a teacher, it is two weeks I get to spend learning from my colleagues, sharing ideas, and strengthening my teaching. For the families, they get to connect with people from all over and see just what potential there is for young musicians. Students get to see peers at their same level as well as be inspired by those above them.
Describe a typical day’s schedule for you as a teacher at Suzuki Institute. My schedule last year at the institute consisted of one violin group class, two sessions of composition, and a couple master classes all before lunch. After lunch I would have one more master class and then be done with my portion of the day. Later I might attend a student recital, go off campus to my favorite coffee shop on the planet (Gimme! Coffee), and then come back for an evening event.
What would you say to encourage a student who feels shy about taking their instrumental lesson from a new teacher at camp? In my teaching I always emphasize with new students or those I’ll see for a limited time that we are always experimenting. Sometimes an experiment has great results. Others just simply don’t work. For a student who might be apprehensive, go in with an open mind, nothing is permanent. We want to hear you play and our job is to shape you into the best possible player and person that you can be. This might mean trying out something new that you’ve never done with your private teacher before, or taking an idea that you are already working on at home and trying some new ideas.
What is one of the best musical memories you have of teaching or being at Ithaca? Similar to teaching in Houston, the best part for me is reconnecting with all my Suzuki colleagues and coming to the institute as a more seasoned teacher than when I left graduate school.
Is scholarship money available for someone who needs assistance to attend the Ithaca or Pittsburgh Institutes and where could they find an application? YES!
Ithaca Suzuki Institute (June 25 – July 7) Pittsburgh Suzuki Institute (July 31 – August 4) https://suzukiassociation.org/ (other locations/dates)
Summer is a great time to break out of the lesson routine! You can keep improving your instrumental skills at a music camp or Suzuki Institute, in a locale you have never seen before, or, you can attend right at home! Make your family’s vacation a musical one or consider a “stay-cation” and attend a program locally. There is lots of fun to have over the summer while keeping your music skills fresh!
