Again and again, I have heard CMPI fellows talk about how behind they are. It’s easy to feel behind in a world where seven-year-old prodigies are playing Paganini on the violin. The reality is that there are multiple paths to a career in music, and the prodigy route is not the usual one – or even the ideal one.
There are many CMPI fellows who simply did not have early musical training or quality musical training for a wide variety of reasons. This may include everything from not developing an interest in music until later, to the family being unable to afford private lessons, or experiencing other life challenges. As a result, many of us have that persistent worrisome twinging in the depths of our bellies that we are behind.
Sameer’s Catching Up Story: When Life Is…Life
Most of you would probably laugh if I said my son Sameer, who was a violinist in the first CMPI cohort, felt behind for most of his life. After all, he is currently a student at the Curtis Institute of Music, studying with Midori. But he is a very good example of someone who truly was behind due to our family circumstances.
Sameer at one of his first international competitions
As many CMPI families know, we had an older daughter with multiple disabilities and medical needs requiring home nursing care. Because we often could not find nurses, we were not able to take Sameer to private lessons or a comprehensive music program. Instead, we hired the only violin teacher in our area of the city willing to come to our house for lessons. While she was excellent for young students, Sameer’s motivation and talent made it obvious that he needed something more, but our family situation simply could not make that happen. It was only after his sister passed away that he switched to an advanced teacher, eventually entering the Academy precollege program at the Music Institute of Chicago.
Most of the other students he encountered there had been studying with advanced teachers for years, had been doing competitions since age five, had had detailed technical training, and had been performing for years. Sameer had never been given etudes, had only performed with piano a few times, and had not done competitions. But he worked extremely hard, and by junior year in high school he was surpassing the so-called prodigies and being invited to compete in international competitions.
In other words, motivated students CAN catch up when given the right instruction. CMPI most definitely helped him find and stay on that path.
Neena’s Catching Up Story: When You Find Your Instrument Later
My other CMPI fellow, Neena, is a violist who is currently a junior. Her story is completely different, because she was not very interested in music at a young age. She took violin lessons starting at age 4 and participated in the Chicago Youth Symphony Orchestras, but she always preferred drawing and other activities to practicing. As time went on, she became increasingly frustrated with the violin, not feeling motivated to practice. One day when she was twelve, she decided to try the viola – we had one around the house since her brother played viola on occasion. She really liked it, and over the next year studied both instruments. At age 13, she went to summer camp and discovered an intense love for playing the viola, especially in chamber music.
Because it was not until age 13 that she discovered her love for the viola, she was behind peers who had been playing the viola for years, as well as those who knew they were interested in music much earlier, like her brother. To build up her fundamentals, she learned most of the intermediate level viola repertoire, meaning she did not truly get to advanced repertoire until sophomore year of high school. She’s doing very well but is still behind in repertoire compared to violists who have been studying far longer. Her catching up process continues, but she has made tremendous progress.
She, too, found that it is possible to catch up when you are truly motivated and have the proper support.
But I’m REALLY Behind!
I hear you all; comparatively, many other CMPI students feel even more behind than my two, who at least had access to lessons from a young age. Many CMPI fellows did not even start their instrument until fifth or sixth grade, and some did not have private lessons until high school. How can these students catch up?
First, a bit of reassurance.
Level often evens out during the college years. Remember those prodigies? Many of them burn out, plateau, or even leave music entirely by college. Motivated students, on the other hand, may be working twice as hard during the high school and college years. You would be surprised how many students improve dramatically when immersed in a musical environment full time.
It is not a race to the finish line.
I always like to remind people that there is no maximum age to get into Curtis. Music is not a race. You don’t have to be accomplished by age 16 or even age 26 to have a career.
There are options for students who need them.
If you feel behind, there are options for you to catch up if you simply are not ready for conservatory at age 17 or 18.
Catching Up Option: Gap Year
Many music students – a surprisingly large percentage, actually – take a gap year before auditioning for conservatory. Some students also choose to audition a second time before being admitted to the level program they want, or because they need more financial aid. Just a reminder here that even people like the violinist Ray Chen had to audition twice before getting accepted! It’s perfectly normal to get a no before you get a yes.
Gap years are simply an extra year to work on your skills. If you do take a gap year, make sure that you have a very defined plan of action, which should include lessons and music classes. CMPI may allow you to continue in the program as a gap year student. Several other local programs, including the Academy at the Music Institute of Chicago, also allow some gap year students, though typically these students have previously been enrolled in the program. Others, like Interlochen Arts Academy or Walnut Hill School for the Arts, offer residential gap year programs. You can also construct a plan all your own. Just make sure that it is structured.
Catching Up: Crossing Tiers of Music Schools
Another option is to start at a lower tier music school, work as hard as possible, and then audition for a top tier music school or conservatory at the graduate level. This is a very common option for many students, especially those who may have financial reasons for choosing a lower tier school.
It is not uncommon for someone to work their way up the ladder of conservatory tiers. They may start at a state school for undergrad, then enter a second-tier conservatory for their master’s and end up at a high level conservatory like Juilliard for a performance certificate or other advanced degree. There are schools and teachers that are known for transforming good students into great students, allowing them to climb this ladder of music schools. You can ask your teacher or CMPI navigator which programs may have this reputation for your instrument.
Making the Most of Opportunities
It is often the case that the most advanced students get the better opportunities, the higher scholarships, and the most doors opened to them. You may have to find your own way to some of these opportunities through novel methods, including fighting for yourself. Take every opportunity you get, and work to find people who will believe in you and champion you.
And remember…it is NOT a race to the finish line. Take the time you need.
Images
Stock photos, Sameer at Cooper Competition