Ruth Bonetti has over 40 years' experience as a teacher from primary to tertiary, (including Queensland Conservatorium of Music) in Germany, France, Sweden, England and her homeland Australia. She is author/editor of 12 books in the music practice and performance fields.

I was reared in the Australian bush, playing a jangly piano whose innards had been nibbled by mice. Its tone and tuning had been crippled by the searing heat and dust of the far west. Concepts of intonation were flummoxed.
Miss Quaver alienated me with her wavery falsetto: 'D, dear, D. Where are my glasses? Oh yes, F.'
My struggles to coordinate two clefs and handfuls of notes going in different directions made me an unlikely contender for a future professional musician.
An Australian Broadcasting Corporation radio schools program demonstrated wind instruments: 'This is the flute.' Tweet. Nah. The oboe: dour.
'Hear the clarinet.'
I loved the sound. 'I'll play that.'
I took my savings to a music shop. A salesman opened a case; out wafted a tantalising aroma of oil and wood. At home, I joined the bits together and blew. Not a single pip came out of that contraption until a month later a teacher demonstrated reed placement and embouchure.
That negative became an asset in teaching beginners; I tell new students who struggle to make a sound in the first lesson: 'You're ahead of me. I didn't make a single noise for a month.'
He inspired in me warm tone and expression that compensated for weaknesses of rhythm and tuning. He gave his undivided attention, resulting in my fast progress.
Catapulted into a city high school, I was too shy to ask for explanation. My theory teacher wrote ant-track marks on manuscript paper. I was mystified by chords called IIc-V-I or V-VI.
My teaching, books and workshops are informed by a lifelong process of solving my own inadequacies. If I were to teach young Ruth, how would I improve on what well-meaning teachers gave me?
We teach what we needed to learn.

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