Determining Lesson Rates

One of the most important decisions a music teacher will make when beginning to teach privately is their rate. It is also one of the most challenging because of the multiple issues that must be considered.

• What is the average rate for private lessons in your area? While this will not be the final consideration in setting your personal rate, it is vital information to have. This ensures that you are not underselling yourself nor setting a fee so high that you seem unaware of your competitors' rates.
• What is your level of education in the field? How long have you taught privately? There are some wonderful piano teachers who have had very little formal training in music. However, advanced degrees in music bring with them higher levels of skill and pedagogical knowledge. Your rates should reflect your advanced training. Similarly, an experienced teacher brings more to the table than a neophyte and should expect to garner a higher tuition.
• Where are lessons being conducted? If you are commuting to your students' homes, a higher tuition is expected to cover fuel and vehicle maintenance. It's also important to consider other lessons that cannot be taught as a result of your commute. Remember, you are being paid for your time as well as the service you are offering. Many parents are willing to pay a higher fee for the convenience of having the lessons brought to the home.
• What studio expenses and fees are included in the tuition? Decisions must be made from the outset about how you will handle the acquisition of music and other teaching materials. Don't forget to consider things like printing expenses, recital rentals, and instrument maintenance when setting your fee as well.

What other things do you consider when setting the fee for lessons that you teach? What lessons have you learned over the years that would be helpful to new teachers entering the field? Share your thoughts in the comments section below.

The Importance of Great Beginnings in Music Education

Beginnings are vitally important. A great novel often grabs the reader's attention with the opening sentence. Hollywood blockbusters ensure their success through lavishly staged opening segments. Educators emphasize the importance of the first years of life to a child's intellectual development. It should come as no surprise, therefore, that a solid early foundation in musical fundamentals is essential to a student's long term success.

The start of the new year is the perfect time for parents and teachers to evaluate the progress their beginning piano student has made thus far in their instruction. For many, the greatest problem is not determining whether or not progress is being made, but determining the cause when slow progress is observed. In my own teaching, I have discovered a few recurring issues that appear to contribute to the situation. I have listed them here in an order that I find helpful in discovering the underlying issue.

• Unrealistic expectations. Because beginning piano students often excel in other pursuits, it is sometimes difficult for parents to realize that progress in music may come at a significantly slower pace. Like the acquisition of a new language, it takes time to become fluent in music. While it is not likely that your student is a prodigy like Mozart, discernible progress should be expected at a regular and steady pace. A child may struggle for a few weeks to grasp an elementary concept; this should not cause extreme concern. If the child continues to struggle with the same issue for more than three or four weeks with no discernible progress (assuming lessons are occurring regularly), it is advisable to look for a deeper cause of the stalemate.

• Insufficient practice. "There are no shortcuts." I find this is often the cause of limited musical advancement that is overlooked by both parents and students. Regardless of how talented a pianist is, there is no substitute for practice. Consistent practice time at the piano is necessary to master new skills and to develop musicality. What should be practiced? Practicing is much more than just playing through the entirety of your repertoire. For starters, daily attention should be given to correcting errors, building technical skills, navigating challenging passages and shaping the melodic line. Instruction on how to practice and what to practice should be discussed in the piano lesson. How much practice is necessary? That's a common question that cannot be easily answered across the board. As a general rule, most beginning students should expect to invest at least 20 minutes in diligent practice each day. Rather than strictly focusing on the amount of time, however, I encourage students to use improvement as their motivation for daily practice.

• Lack of parent-teacher communication. An open line of communication between the adults involved in the student's musical development is always extremely beneficial. The parent can provide insight into what is happening between lessons while also sharing areas of student frustration and confusion. The teacher that values parental input will be certain to provide information about supplemental resources (e.g. flash cards, technology aids, and additional music) that can aid the student's development. The most common method of parent-teacher communication comes in the form of a lesson notebook; with the increased use of technology in music instruction, electronic methods of communication between the home and studio are becoming more common, too. Whatever the method, the home communication allows the teacher to clearly state the week's goals while sharing additional information with parents. If a formal system of weekly communication has not already been established in the lesson, the parent should feel free to inquire about its development.

• Misunderstood concepts. When a child is facing a road block in his musical development, a misunderstanding of an essential fact may be the root problem. A professional teacher should identify such circumstances quickly and develop a plan for correcting the error. If a parent observes a season of little progress, a gentle, non-threatening conversation with the student might reveal the misunderstanding that can then be communicated to the instructor. If the instructor becomes defensive when the issue is brought to their attention, it may be a signal that a more harmful problem exists.

• Insufficient instruction. Once we have eliminated the above issues as the source of minimal student development, it then becomes necessary to examine the quality of instruction. Not everyone who can play an instrument is qualified to teach. Questions about professional training and teaching experience can often be obtained from a studio website or casual conversation with the teacher. Parents may also seek out information about the teacher's reputation in the community. If the instruction is found to be inferior, it is imperative to the student's development that a thoroughly qualified teacher be found as quickly as possible.

• As a further note on the topic of instruction, it is also important to realize that no teacher is best in every situation. A pedagogue that specializes in adult beginners might not be the best fit for an adolescent student. A piano teacher with limited experience might not be a good fit for the student who is interested in the competitive circuit. Students with special needs will most greatly benefit from teachers who have specialized training and experience with similar students. Each situation is unique. The parent's best tools in making a decision about their child's study is information and personal intuition.

• Absence of talent. As a last possibility, we must state that in extremely rare circumstances, a student may simply not possess any musical talent. I have never encountered a student who could not achieve some level of musical advancement through private instruction. Before allowing your student to be lumped into this "no hope" category, I recommend speaking frankly with all music teachers the student has encountered (school and private teachers, past and present) as well as other respected music professionals. The last thing that should happen is to have a child's musical interests crushed because of a poor assessment of their musical potential.

Living the Life of a Pianist

Some days are tough as a musician. It's not that we don't love our work and the joy of making music. It has nothing to do with the hours of practice or the time spent explaining the same concept to a student. There are just days that a "traditional" job with the stability it provides is enticing.....and I find myself dreaming of how life could be very different. The dream quickly turns into a nightmare as I think of clocking hours at a desk job, completing the same mundane task over and over.

Like many musicians, I am continuing to search for the ever elusive full-time position in the field. That means that I freelance in order to make a living. What does that look like for me? My mornings and evenings (on alternating days) are spent teaching music appreciation courses at a local community college. I love introducing students to music that they have never explored before; I flinch at some of the administrative duties and sometimes frustrating colleagues, but the joy certainly outweighs the negative aspects of the job.

I get to feed the collaborative artist inside by driving to Union University in Jackson, Tennessee a couple of times each week to work there as one of their staff pianists. The students are great; the faculty are welcoming and fun. The 85-mile drive can be taxing, but it's a price I'm willing to pay to work as a professional musician. The time at Union has cut down on the amount of private collaborations I have been able to take on....and I miss making music with other professionals and sharing it with the public. Hopefully, I'll find myself in a situation in the near future where I'm not doing quite as much travel and can seek out more chamber opportunities.

The gift of music in my life has been a blessing from God for which I am extremely thankful. As an act of thanksgiving, I also serve a local church. (It's also a source of income, but I try to focus on the worship rather than the work.  I don't always succeed, though.) I wear many hats at the church. In addition to directing the music ministry efforts, I coordinate the teaching of children, have my hands in teen ministry, and provide some administrative support. It's nice to have a non-musical aspect to my weekly schedule (I especially enjoy working with the kiddos), but it can be overwhelming at times. I find it especially hard to switch approaches as I work with volunteers in the church. Students and professional colleagues are a bit more understanding (and appreciative) of clear, honest communication; volunteers require a more gentle approach. After spending years working to overcome my natural tendency to sugar-coat my musical opinions, I'm sometimes my own worst enemy in effective communication with volunteers.

Lastly, I maintain a very small private studio. I am intentionally keeping it small at the moment for a few reasons. Firstly, I simply don't have much more time. My target audience members are late elementary and middle school/junior high students. My available hours don't match theirs. Secondly, I don't have a convenient space for teaching. This is the larger issue at the moment. I share a home with my parents in a small community. My piano is located in the center of the house in a guest bedroom. I don't like teaching students in a bedroom (for obvious reasons) and I don't want to impose upon the schedules of my parents by having students traipse through the house during their primary rest times. I enjoy teaching piano lessons and think I'm good at it; when I find myself in the new situation that I alluded to above, I fully intend to market my teaching in a new city and build a solid studio.

It may look a little nontraditional to you. It is nontraditional. What you may be missing is that it is fulfilling, filled with joy, constant adventure, and lots of fun. Like every other career, there are times where I'm frustrated and overwhelmed. That doesn't mean I'm looking for a career change though; it simply means I'm having a tough day. I'll continue looking for a full-time job in the music field, but until I find it, I'll be content to freelance and pull it together one performance and lesson at a time.

What Does It Take to Teach?

Recently I had a conversation with one of my music students about becoming a private music teacher. As he asked about the requirements, I realized that there is little oversight in the field. Anyone can claim to be a qualified teacher. It's sad, isn't it! I'm sure many of us have worked with students who received poor instruction from a previous "teacher." The process of correcting, clarifying, and relearning can be difficult and frustrating for both the student and teacher. While speaking to this potential future teacher, I wanted to make sure that I was clear about the ethical requirements I would put on anyone considering teaching.

• Have a realistic understanding of your skill sets. It is imperative that you know what you are capable of doing as well as what you cannot do. In addition to knowing your skills, however, you must be honest about what you are capable of teaching! Not too long ago, I had a student that was wanting to learn to play "gospel" music -- a word that has several meanings in the deep South! After an introductory lesson and several discussions clarifying the student's goals, I realized I was not the best teacher for her. While I would have enjoyed working with this gifted student, I would not have been serving her needs in the best possible way and helping her find a more qualified teacher was the ethical decision. For many teachers, this issue arises more often as students progress into the intermediate and advanced levels. At what point do you need to admit that the student has gleaned everything you have to offer? (I've experienced this first-hand as a teenager and I plan to share my situation and experience in the coming weeks.)
• Have formal training. Having a degree in music is the best situation, but I'm not implying that only those with a degree should teach. I WILL say that only musicians with SIGNIFICANT amounts of training should venture into teaching students of any level......especially beginners! I have found that those considering teaching have convinced themselves that they are qualified as long as they know more than the student. That's simply not true! A qualified teacher is able to look far down the road and see the implications of each successive concept that is introduced. 
• Have a desire to help others make music. This should be obvious, but often it's not the case. If you are teaching music for the money or the flexible schedule, you are barking up the wrong tree! The driving force behind teaching must be the love of the music. This is the reason that I am very selective in the number of beginning students that I teach. Elementary music education is not my passion. While I could fill my schedule with beginning lessons and maintain a full studio, I know that the students deserve a teacher who finds tremendous fulfillment in teaching the basic concepts of music. When do I teach a beginner? Normally I tend to take on those students who have had a bad experience with another teacher as well as later beginners (8-12 year-olds). I find that I am able to connect with them more than their younger counterparts.

I find that these are some of the key aspects. Other things (like location, reputation, ability to instruct and share knowledge) can be developed over time. What would you add to my list? I'd love to hear from you!

When Students Transfer

Earlier this week, I had the good fortune to meet a young pianist who will be studying with me in the fall.  This teen student came to me after spending several years with another teacher.  While he has gained some valuable skills, he does not enjoy the repertoire being assigned and his mother expressed that she does not believe he has progressed as he should have in the past year.  As they began to discuss the possibilities of transferring to my studio, I began to think of ways that I could better serve students who transfer from my studio.

Transfers are natural.  They occur because a family relocates.  A student may desire to study an area of piano outside of their current teacher's expertise.  Conflicting personalities would also be a valid cause for a student to seek out another teacher.  In a few cases, the student has progressed to the teacher's skill level and must be encouraged to seek out another mentor.  As a profession, how well are we serving students who transfer?

In the American public school system, a student transfer is accompanied with a massive file detailing the student's history.  It contains test scores as well as transcripts -- which outline what material has been introduced, repeated, and mastered -- and paints a portrait of the student's development.  Additionally, many students also have an Individualized Educational Plan (IEP) which identifies learning disabilities as well as an intensive strategy for accommodating these needs and reports regarding each accommodation's effectiveness.

Wouldn't it be wonderful to receive similar information from former piano teachers when new students opt to study with you?  While the files that are developed in public education are extensive on each student, a piano student's file could be generated with little difficulty.  The best teachers take some time at the end of each term to reflect on their students' progress, evaluate their mastery of concepts, and develop a plan of action for the future.  When a student transfers, what a gift it would be to the new teacher to provide this valuable information along with a brief note of introduction to the student.  No one has more information about the student's positive (and negative) musical traits than the current teacher.

Do I currently have these files ready on my students?  No, but I do see the value and plan to implement a simple version.  At the end of each term, I plan to list the repertoire studied and a brief statement of what was addressed in the lessons (major focuses for the semester).  By identifying a few things I plan to address in the coming semester, I am also beginning to consider new repertoire.  Personal reviews about memorable lessons (both good and bad), performances, and response to pieces could also be added.  If you wanted to make it even easier, simply organize your notes from your weekly lessons into a file and have everything in one place.  When the time comes for your student to leave your studio -- for whatever reason -- give them the gift of knowledge by offering to share your records with their new teacher and elevate your level of professionalism.  After all, as teachers our greatest concern is for our student's development.

In a perfect situation, what information would you like to know about a student from a prior teacher?  In what circumstances can it be a hindrance having a teacher's input?  I look forward to hearing from you!

Adult Piano Lessons

When some people think of piano lessons, their mind immediately imagines a child sitting quietly at a piano, mindlessly practicing dull finger exercises.  Thankfully that is not an accurate image on several fronts!  The aspect of piano lessons that is sometimes most surprising is that adults can enjoy lessons and experience success.

Why would an adult learner want to take piano lessons?  The reasons are as diverse as the individuals.  Some are returning to an instrument of their childhood; many express that they took lessons for a season and now regret leaving the study of music for other pursuits.  On the flip side, some adults find themselves with more time and self-discipline to devote to a new hobby that has always intrigued them.

The benefits of adult piano lessons are both emotional and physical.  My adult students report that they find the routine of a practice regime to be relaxing; they are further transported to a happy place as the sounds of the instrument wash over their ears, cleansing the cares of the day.  Others treat playing the piano as physical therapy, especially those suffering with arthritis in their hands.  The movement of the hands somehow seems to release some of the tension and restore mobility.

Adult learners experience success at the piano due to their increased mental capacity and hand-eye coordination.  In certain cases, however, their increased ability to think logically can become a stumbling block.  While a child simply accepts some musical facts, the adult learner wants to understand the "why" behind the principle.  This deeper voyage into music theory can create temporary frustration for the adult learner, but ultimately leads to a fuller understanding and mastery of musical concepts.

Adult students are self-motivating and highly disciplined.  They are aware that the practicing process brings gradual results and that consistency and perseverance are key.  Because the adult is pursuing musical instruction without pressure from an authority figure such as a parent, the student relaxes more and enjoys the trip rather than focusing all their energies on reaching the final destination.

Is it ever too late to begin studying music?  Not at all...especially when we realize that the joy is in the process as well as the final product. 

How Young is Too Young?

Like most piano teachers, I get asked a ton of questions about piano lessons over and over again.  One question seems to come up more often than the others:  what is the youngest student you are willing to teach?  In other words, how young is too young?

I wish there was a simple answer to this question.  No two children are exactly alike.  A 4-year-old may be ready for lessons while a 6-year-old is not.  Here are some of the questions I ask inquiring parents to help them determine if now is the time to begin lessons for their youngster.

• Does the child have a firm grasp on the alphabet, counting, and sequencing?  These skills are fundamental to some of the basic elements of playing the instrument.
• Can the child remain focused on a single task for several minutes?  While the lesson is broken up into various segments and activities are varied in order to keep young minds active, the student will still need to be able to remain on task for 5 minutes at a time. 
• Has the student shown interest in playing the piano?  You would not believe the number of times that parents answer "no" to this question.  While I firmly believe in musical education, it is not something to be forced upon a child.  Placing them in lessons before they are emotionally, physically, and intellectually ready can result in a negative experience.

Once I have asked these simple questions, I begin to get a sense of who the child is - in the parent's mind, at least.  If it seems that the child might be ready for lessons and is younger than 7, I advise the adult that young children sometimes progress slower than their older counter parts.  I cannot predict where it will happen, but there often seems to be a single concept that becomes a roadblock to the young mind and takes a while to get past.  Rather than focusing on what they cannot do, I choose to spend a lot of time re-enforcing what they have already learned in order to insure that they are still enjoying playing the piano.  Generally, the student will let me know when they are ready to explore the new concept again through their questions and we normally have success.

If the parent is cool with a slower pace for the young child, I recommend having a few lessons together without making a long term commitment.  This allows everyone involved -- teacher, parent, and student -- to see if the relationship will work and is worth the investment of time and finances at this time.

If pushed into a corner to give an age, I normally suggest that a child begin lessons no earlier than the spring semester of kindergarten.  There's nothing scientific that I've found to support that....it's just been my experience.  Let me hear from you.  How young is too young to begin piano lessons in your studio?

Studio Issues - Redesign or Relocate?

Summer is upon us and that means I will be traveling for much of the summer.  As a result, I have cancelled piano lessons for the summer and using the time to reflect upon the past year while planning for the fall semester.  At the top of my list is the question of redesigning my current studio situation or simply relocating.

The spring brought massive amounts of rainfall to the Memphis area.  Many properties experienced significant water damage, including the Arts Annex of Delta Arts.  The arts organization of Crittenden County, Arkansas has generously allowed me to use the annex for the past few years at no expense.  The facilities have been convenient and the price was right.  During the storms, the annex experienced some severe damage.  Add to this the constant threat of losing the annex due to the financial constraints of the arts organization and you will understand why the thought of relocating is on my mind.

The instrument in the room is sufficient for teaching beginner students (yes, I hear your collective groans because of that statement), but most of my students are now reaching a level where a better instrument is no longer a luxury but a necessity.  The space is not exclusively devoted to my teaching; other organizations benefit from the use of the annex. This is wonderful for public relations, but causes difficulties for me when it comes to scheduling and decorating.

I would generally grin and bear it, but another option is available at this time.  The church that I work for has mentioned that it might be possible to begin teaching there with the idea of developing a music conservatory to serve the community.  There are definite benefits to this scenario.  The instrument is concert quality.  The facility is already equipped with technology and sound equipment.  Students would be able to present recitals on the same instrument they use weekly.  Personally, it would eliminate an additional stop in my already over-scheduled life.  The benefits are great.

The negative comes in relation to my current students.  The church is approximately 30 miles away from my current studio location.  While it is not unusual for families in eastern Arkansas to commute across the bridge into Tennessee, it may deter some of these students from continuing their studies with me.  I have come to enjoy working with these young people and we are making strides together in their love of the piano. 

The other negative relates to the process of recruiting new students.  I consider this to be one of the greatest difficulties in establishing a piano studio.  While I do not currently have students in the southeast Shelby County area, it is a larger market and one in which I regularly perform.  I have a reputation in the area.  When I consider the fact that there are only 7 students in my studio at this time, I feel confident that I will be able to find the same number of students across the river. 

As you can see, I'm in the early stages of making a decision, so nothing is settled at all.  What factors do you consider when thinking about relocating your studio?  If you have already gone through the process of moving, what lessons have you learned from the experience?  What would you do differently if you had it to do all over again?

I'm Still Here.....

It's been way too long since I have found time to write.  Tornadoes, historic floods, recitals, teaching, family weddings, travels and work have demanded my time.  Despite my absence in the blogosphere, I have been a very busy pianist and look forward to sharing my thoughts with you once again.

Currently I am in the process of making a decision about my summer schedule.  I can definitely use the extra income associated with private lessons, but the summer is an intense time for the other areas of my life as well.  I am contemplating giving my students a "holiday" and returning to a regular teaching schedule in the fall.  I know it's not the ideal situation for their musical development, but I also know that I am a better teacher when I am rested and excited to see them on a weekly basis.  What are your personal experiences?  I'd welcome your input.

Repetition

Sitting in the Memphis airport, my ears are currently assaulted by the barrage of public announcements.  Given the fact that it's before sunrise, very few flights are leaving.  In the quietness, I have now heard the same announcement for stand-by passengers (by the way, there's only one!) repeated seven times without interruption.

As I realized how annoying this mind-numbing repetition is to me, I considered the parallels to my own musical performances.  Repetition is commonly used by composers; however, the intention is not to play the phrase exactly the same way each time.  In order to provide interest and variety, the musician should consider making slight variations to dynamics, accents, or shape in recurrences of the line.   Often the composer signals his intentions based upon the harmonic structure.

We expect the advanced pianist to make such decisions with ease.  When do we begin training young musicians to address the issue of repetition in a thoughtful manner?  As soon as possible!  In my own teaching, I spend a considerable portion of each lesson asking the student questions about the piece's structure.  Once repetition is identified, my immediate question relates to how the student will make the repeated phrases different.  If multiple options are presented, we consider which we think will be most satisfying and play it first.  Rarely do I encounter a student who does not naturally hear a plausible solution to the repetition issue;  the difficulty sometimes occurs in the execution of the repeated phrase.

As a side note, I am traveling to southern California today for a week of performances, rehearsals, and fun.  I hope to continue blogging throughout the week -- but just in case -- check back next week for more installments.

Improving Your Sight Reading

Every collaborative artist recognizes the importance of sight reading in our profession.  Throughout my piano study, most teachers claimed you either could sight read or you couldn't;  they held there was little you could do to improve your skills in this area.  Since that time, I have discovered through my personal experience and those of other piano students that sight reading CAN improve.

For the working collaborative pianist, my suggestion is to read new solo literature on a regular basis.  The repertoire for solo piano is abundant and of varying technical demands.  Personally, I begin with the sonatas of Haydn, Mozart, and Beethoven.  There is no pressure to play the works at tempo; accuracy is the goal, so play at a tempo that you can handle.  As a student, I was instructed to sight read daily for thirty minutes;  now I simply strive to do some amount of reading each day.  Of course, reading repertoire from the vocal and instrumental literature might be an option for some pianists.  I avoid this music so I won't be tempted to feel the necessity of learning the works and because solo literature is more readily available to me.

When do I introduce sight reading to my own students?  As early as possible!  By having them reading new repertoire regularly and often, students are not aware that they are developing a desirable skill.  Once a student begins sight reading well enough to be independent in the activity, I encourage them to explore all types of music:  hymns, solo pieces, movie soundtracks, and pop songs.  I basically make a game of it.  I want to see how many songs they can play through before our next lesson (remembering that the goal is not learning it or having it ready for public performance).  The student keeps a list of the songs they have read and brings some of their favorites the following week for us to look at together.  This allows me to praise them for their hard work and applaud their willingness to challenge themselves with difficult music while providing insight into their interests.  The results have been tremendous;  surprisingly, many of the students ask to repeat the exercise again and I gladly oblige!

Keeping Students Motivated

Teachers spend many hours preparing lesson plans and assessing student learning and understanding.  Sadly, all of this planning is worthless if we are unable to motivate our students.  Whether we are considering private lessons or a traditional classroom setting, the dilemma is the same.  Here are a few things I have found to be helpful in motivating students in their musical studies.

First, establish how the study of music is beneficial in other areas.  A piano student may rebel against learning music theory until they realize that it will also pay dividends in their math classes.  Recently, a student had a complete attitude change when she saw the effect her music appreciation class was having on her understanding of world history.   All students can see the value of having a leg up on their colleagues in other classes, so play up these advantages.

Diversity is the spice of life, so look for opportunities to mix things up.  My piano students enjoy stepping away from the instrument to watch a video occasionally.  In history classes, I look for as many scandalous anecdotes about composers as I can find!  The naughtier, the better -- students relax and the person leaps off the page and into their memory.

Keep it fun!  Disguising learning into some form of entertainment is invaluable.  Make your students laugh; never let them predict exactly what's coming next.  Even when they are working hard, the possibility of silliness and fun keeps them coming back for more.

Praise success -- and demand even more!  I am quick to celebrate the accomplishments of my students, but I am never satisfied.  There will always be more to learn, more to explore, and more to achieve.  Learning is a lifelong pursuit, not something we achieve at the end of the semester.

Often my students ask me to lower my standards.  It's not going to happen.  My job as an educator is to help them see all they can achieve and give them the necessary tools to do what they are capable of.  That's why my piano students are constantly learning new music and why my exams are notoriously difficult.

Am I able to motivate all students?  No, there are those who are not interested in learning.  They are merely pursuing a diploma -- a piece of paper that has little significance when separated from true intellectual achievement.  Those students who are pursuing an authentic learning experience find my classes challenging and demanding -- but ultimately a truly rewarding experience.  Those are the students who motivate me to continue motivating new students year after year!

My Continued Adventures in Teaching Note Reading

Tuesday was another fun-filled afternoon of piano lessons in my studio.  Recently, I have noticed two students that have struggled with note reading, so I decided to use some note-reading worksheets to see if I can determine the root cause.

The younger student is constantly second-guessing her playing and making mistakes.  Her understanding of rhythm, however, is developing nicely.  When given the treble clef worksheet, she would pause occasionally to check notes -- especially as they moved into the upper range of the staff where we have not yet done much playing.  I didn't find this alarming.  As I checked her work, I found that she was consistently correct in her responses.  Now I'm completely puzzled.

The thought occured to me that I need to ask her to play the individual measures from the worksheet.  The student played the correct letter names, but almost always in the wrong register of the instrument.  There's the problem:  there is a missed connection between the geography of the written score and that of the keyboard.  I loved the sparkle in her eyes as we together figured out what the problem was and I assured her that it can be fixed.

Student #2 presented a slightly more difficult situation.  This student is the same teen that I wrote about last week.  We worked on a bass clef worksheet.  I sat and watched as she tried to figure out the notes by using rudimentary memory aids for each of the lines and spaces.  Although ultimately accurate for the most part, I must admit that it was a painful process to observe in a student who has studied music for over two years.  When we went to the keyboard, we began to dialogue about how she approaches reading a piece.  Her  answer was that she is looking at the distance and direction the notes are moving and making an educated guess at the correct note.  Her instincts are quite good, but her lack of reading skills and regular practice do not allow her musical ear to be the helpful tool that it can be.

With my beginning student, I think I have a clear plan of attack now that I have some insight into the underlying problem.  My teen student is a different story.  I'm trying to brainstorm how to teach this concept that was never a difficulty for me personally and not something I have encountered in another student before.  Since she performs excellently in math and science, I am considering approaching the problem by intensifying the theory study during our weekly lessons, but I'm not sure that approach won't compound the problem rather than resolve it.  I certainly have a lot to ponder this week.

When a Student Hits a Proverbial Wall

Piano lessons are up and running again and I am having so much fun!  Students are excited about learning and about the new additions to our studio.  Perhaps I should qualify that statement....everyone is excited about piano except one of my students.  Let me paint the picture for you and share my dilemma with you.

This young lady is in 7th grade and has studied piano with several teachers already.  She first transferred into my studio last fall.  At her first lesson, I learned that she has been stuck in level 1 of her method book for several years.  The problem?  She simply cannot read bass clef!  I have played games with her, assigned pieces that are exclusively in the bass clef, and even tried becoming the harsh teacher that I despised as a child to find what would motivate her.  So far, nothing has worked.

As she returned to lessons this fall, I was told that she has now also enrolled in voice lessons with an overpriced, under-talented theater director (strictly my opinion of the teacher) and is now taking up French horn in the school band.  Her opinion of her own talent is supported by her parents' numerous accolades.  Sadly, her talent does not support such high praise.

Now I'm stuck trying to figure out how to proceed?  At this point in her piano development, learning how to read bass clef is essential.  When I pull her away from the instrument, she has the tools to figure out the note names, but it is definitely a struggle.  When she searches for the notes at the keyboard, a short 8-measure piece takes nearly the entire 30-minute lesson to plow through.

Clearly, she is not practicing.  I know that's the best solution to learning to read....just do it!  In the light that I have already spoken with her parent about the situation and they do not seem to object to essentially wasting their money on lessons that are at a stand still, what is my next step?  I don't mind taking the money (obviously), but even the most patient teacher in the world can only deal with the same issue for so long before going absolutely insane! 

As an act of desperation, I finally moved her through the rest of book 1 and now we are working on the review material found in the next level of the method.  At this point, I don't know who is beating their head against a brick wall -- her or me!  I'm looking forward to your hearing your comments, experiences, and suggestions.

Piano Maintenance and Care

As the new semester of piano lessons are beginning, several of my students have come to their first lessons with lots of excitement over getting their first piano. The questions quickly follow about piano care and maintenance. Rather than merely giving parents information from my personal knowledge, I point them to this very helpful page of information hosted by the Piano Technicians' Guild. PTG answers the basic questions of how often to schedule a tuning as well as how to take care of your instrument. My students find the cut away sketches of the piano mechanisms interesting while parents appreciate the wealth of information about their newest investment. Since we are living in the metro Memphis area and are forced to deal with the area's humidity changes, I advise them to pay special attention to the page on humidity's effects on the piano. That way they know exactly what to expect during the summer and winter months while having some information on how to avoid the most serious problems.

The Power of Words

While reading through the blogs I follow this morning, I came across this wonderful article by Valerie Kampmeier entitled "Talking to Your Students." It's has been a great reminder to me at the beginning of an extremely busy down how powerful my words can be. Not only will they shape the attitudes of my students, but the words I speak will also effect my experience throughout the day. Take a few minutes to read Valerie's post and think about the words you say....you may find yourself realizing that you need to change a few!

The Importance of Reflection

As musicians, many of us are reflective my nature. How did that performance really go? Is there a better practice technique to implement that will get the desired effect? Will an alternate fingering help facilitate that technical passage with increased accuracy?

For those of us who also teach, the reflections continue. How much of today's lesson did my student truly understand? What exercises will be beneficial to the student's development? How could I have better explained that concept? Is this better understood through explanation, demonstration, or self-exploration?

Summer's relaxed schedule is a perfect time for extended periods of reflection for me. This year, I am reflecting upon my own musical development. By taking a look at the experiences and repertoire my teachers' incorporated at various stages of my learning, I am observing how my musical path led to the collaborative arts that I now enjoy. Additionally, I am finding myself challenged to find ways to use some of these same techniques to pass on the gift of collaboration to a new generation of students.

By reflecting, I am learning more about myself, my philosophy of teaching, and my approach to training young pianists. These insights are turning my musical memories into a learning lab where I can observe master teachers and consider firsthand the effect the various approaches had upon the student.

Summer Piano Lessons

Summer is always a difficult time for the piano teacher. Lessons become difficult to schedule because of family vacations and other conflicts. Practicing becomes a chore as the heat rises and nature beckons children outside. Who can resist lazy days next to the pool or spending fun times exploring the neighborhood with friends?

This summer, I have opted to give my regular students the summer vacation off. I have several recitals planned that demand my attention in addition to commitments at the church and the junior college. While some pedagogues are appalled by my decision, the parents of my students are thrilled because they don't have to juggle their schedules all summer long. Happy parents ultimately lead to happy students and a happy teacher!

I do not want to neglect my piano studio this summer, so I've devised a plan. I'm not sure how it will work, but it is certainly worth a try. Tomorrow I will post several flyers around my small town announcing that I will be teaching a limited number of lessons in my home during the summer months. This is a change from the norm for me as I use a small studio space during the school year for my lessons. I am presenting the summer lessons as a shortened term that does not have any long term commitment. I am available for lessons later this week and will continue through the end of August.

Here's my thought process. If a parent is unsure about their child's interest in piano lessons, summer is the perfect time to give it a shot without feeling the necessity of making a long-term commitment. This point is re-enforced by the fact that I'm teaching in my home instead of the studio space. At the end of the summer session, any student that wants to continue with lessons will have that opportunity. I still have plenty of space in my studio.

Since I'm dealing with the summer time, I'll constantly be looking for ways to make the lesson as exciting as possible for all of the students. We may not progress musically as quickly as I might like, but there is a greater goal in sight. If the student enjoys the lessons this summer, they will tell their parents and I will have a good opportunity to add that student to my fall roster. How can it go wrong?

As I thought through this idea, I decided that it was actually a win-win situation. Worse case scenario--I don't get any students, but I get some publicity in a community that knows me well and that I have not targeted for potential students. Best case--I spend a few afternoons a week teaching in my home and pick up a few additional students for the long-term. Together, we will get to have fun while learning how to make music. The fact that I can make a little additional cash doesn't hurt either!