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Keep Music Students Long-Term

Leave a Comment / Private Music Teachers / Kathi Kerr

One of the biggest challenges for a private music teacher is keeping students long-term. So what are the tricks to keeping a student from quitting? Here are 9 tips to help students take music lessons long-term.

When students quit soon after signing up, building a roster of students is difficult, making it a challenge to make a living. There will be those students whose’s destiny is to sing or play an instrument. So no matter how you teach them, they will be long-term. Then there are the students who not only dislike music lessons, they don’t even like the sound of music. And no matter what you do right, they will not stay with you long.

So let’s talk about the middle-range music students that most fall into, those that have some desire to learn to sing or play an instrument. By teaching them correctly, you could potentially have a student for years.

Have a passion for teaching music

Don’t be a music teacher just to make money when your performances are rare. Or think you can be a music teacher because you know how to play a few songs. There’s much more to becoming a music instructor than you may realize. You must have a passion for teaching and excitement when students learn, or it will become drudgery. If your students feel you’re not enjoying teaching, they won’t enjoy learning from you.

Get to know your students

If you’re still reading this post, I’m assuming you LOVE to teach music (as I do). The first critical factor in teaching is getting to know your students; study them. The great thing about teaching private lessons is how each student is unique. Figure out what makes them tick, their strengths, and their weaknesses. What do they love to do outside of music? Are they a perfectionist (the most challenging type of student to teach)? Are they analytical, mathematical-minded, or do they love to create? How do they learn best? Is it by listening, reading, doing, or watching? Knowing their personality, learning style, and what they love to do helps you match what you’re teaching to how they learn. It also makes the music student feel you know them and will be more endeared to you as a teacher. Who doesn’t want someone to know them well?

Be fun and friendly

When I first began teaching, I thought making lessons fun was an obvious point, but I quickly learned that not all instructors do this. I laugh and occasionally joke with my students while maintaining control and keeping on point during the music lesson. When the music student makes a mistake, I make it light. The less tension the student feels, the better they’ll do. And I never get mad or frustrated when a student makes mistakes. That’s part of the process, and the student should know you’ll never get upset at them. I tell my students that making a mistake can be a good thing, as they learn twice a much! Let the music student know it’s OK to make a mistake; and that, in fact, they likely will.

Teach in small steps

If you want to have a student running for the hills after one lesson, overwhelm them! I tell my staff to make the first lesson simple for a beginner, with one nugget of information they can learn. If the student is a quick learner, you’ll know by the second lesson, and you can increase the pace. But if the student leaves confused and frustrated, they’ll blame it on themselves for not understanding and will probably quit. Teach in a clear step-by-step method with plenty of repetition from the beginning and throughout your time with them. Be excited about any little achievement they make. Even small achievements can make a student excited and want to continue learning. Ask your students questions to ensure they understand every new concept you teach. Don’t assume they know what you’re talking about. I ask my students way more questions than they ask me in a lesson.

Don’t guilt them into practice

This is one of the most critical points. I wrote a blog earlier on how to motivate your student to practice. I encourage you to read it. Practicing is one of the biggest challenges for a private music teacher. But one thing I know DOESN’T work is guilting your student into practicing. Making them feel bad when they haven’t practiced will only make them hate the lessons. Adult students already feel bad, so they’ll probably just quit. A child without parents who make them stick with it will probably quit. When a student doesn’t practice, I tell them it’s OK and try to practice more the following week. Nothing can be done about the previous week anyway, so why make them feel bad about it. Have them focus on the future instead of the past.

Sometimes it’s a legitimate reason they couldn’t practice, but if it’s a weekly occurrence, you may want to find out why they’re not practicing. One reason could be not understanding the assignments, as in the previous point. If you don’t give specific assignments, they may not know WHAT to practice. So make sure you give clear instructions on what they should practice. Or maybe they have a busy schedule. I encourage students of any age to schedule their practice times so it becomes routine in their life. Whatever you do, make practicing a positive thing in their life. And never say, “You’re wasting my time and your parents’ money” to a young student. Even if they don’t practice or seem to enjoy the lessons, what you’re teaching them will stay with them forever. You never know what your lessons will inspire the young student in their life.

Learning Progress

My students know I won’t pass an assignment unless they’ve done it correctly. This encourages them to do their best and practice, so I will pass it. If your student does a good job, let them know you’re happy with their accomplishments. If they didn’t meet your standards to pass, let them know to work on it another week without it being a brow-beating session. Keep in mind their limitations when passing or not passing. I will not be as critical of a beginner or slower-paced student as someone more advanced or a quick learner. It’s essential for the beginning student to feel a sense of accomplishment.

Be prompt and consistent

One of the complaints I get from students that took lessons previously was their teacher would cancel a lot or be late. If you want music students long-term, you must be committed to their lesson time and be on time. Canceling a lesson should be rare and only for unavoidable circumstances. And if you do have to cancel, let them know as far in advance as possible. Showing your commitment to the lessons will likewise help the student be committed and have consistent attendance (which helps in their learning progress.)

The Right Curriculum is Vital

Having the right curriculum that teaches a step-by-step format is crucial. Use the book series that fits your teaching style and what is best for each student.

Our “Drill & Excel On the Piano” series includes everything a piano student needs in an easy-to-follow step-by-step format, including plenty of repetition so the student can master each level. Teachers can register to receive free shipping and 50% off their first copy and 20% off recurring orders for students.

Remind them of their progress

And finally, remind them how much they’ve learned and how far they’ve come. This doesn’t have to be every week, or it will lose the effect, but do this when you feel the student needs a little assurance or when they’ve accomplished something challenging. I sometimes have the student play a previous assignment they thought was so difficult so they can see how far they’ve come. The most vital part of teaching beginning students to keep them long-term is making them feel good about their progress and accomplishments!

I hope this tip helps you be the best teacher ever. Thank you for doing the best job in the world and sharing your music with others. Please comment to let other private music teachers know your thoughts!

Kathi Kerr is the owner and founder of Melody Music Studios, a nationwide music teaching studio, and Melody Music Publishers.

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Are Music Scales Needed?

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

Are music scales really needed? Does playing musical scales improve one’s musical ability? Why even play scales? Isn’t that something done in the past but no longer relevant in today’s music? Tip #11 will give you five reasons why musical scales ARE vital in today’s music.

What is a music scale?

Simply put, music scales are ascending notes in musical order, starting and ending on the same note with the sharps or flats for the starting note’s key signature. For example, the key signature of C has no sharps or flats. So when playing all the notes starting and ending on C, you will only play the white keys.

Playing scales on the piano or any instrument used to be the standard for learning. But in recent years, many music teachers have stopped teaching them, thinking they are outdated and boring. So why are the musical scales so necessary?

Key signatures – Reason #1

Music is played in a specific key signature, meaning a certain number of sharps or flats. Can’t remember what are in a specific key signature? The major scale has a sound most can identify. So if you’re not familiar with the correct sharps or flats needed, you can figure it out by playing the scale. I always teach scales by ear rather than reading notes or by the math formula (whole and half steps).

Scale Numbers – Reason #2

Musical scales help in ear training. Assigning a number for each of the seven notes 1 through 7 are called scale numbers. Each scale number has a unique sound. However, each specific scale number sounds the same in any key signature. For example, the “1” scale number, the “root,” sounds the same once your ear is acclimated to that key signature. The “1” is also the easiest to identify and the most prominent. The following most prominent scale number is the “5”, called the dominant (for a good reason, since it’s…dominant). The third most prominent scale number is the “3”. Then, like magic, if you play the “1-3-5” together, you have a major triad! Showing this to your students is a great way to introduce triads and chords. There are ways to help the student identify the sound for the other scale numbers, the “2”, “4”, “6”, and “7”. A fun assignment is to have the student listen to a simple melody, and identify the scale numbers. For example, “Mary Had a Little Lamb” starts out using the following scale numbers: “3-2-1-2-3-3-3-2-2-2-3-5-5”.

Chord Numbers – Reason #3

We can build a triad (playing 1-3-5) on every scale number. This is called Scale Harmonization. For example, in the key of C, playing “C-E-G” builds the triad from the 1 scale number, which is the I chord. In traditional theory, roman numerals are used to identify the chord numbers. For example, I ii iii IV V vi and vii diminished. The great thing about the roman numerals is the upper and lower case identifies the major and minor triads. And just like each scale number has a unique sound, so do the triad or chord numbers. Once you learn how each triad number sounds, you can identify the chord number when listening to a song! This can be done on both the major and minor triads.

Identifying Accidentals – Reason #4

Accidentals or chromatic notes are commonly used in music, meaning notes and chords, not in the song’s key signature. Without accidentals, music would be dull. So if your ear is trained to hearing scale and chord numbers in the musical scale, an accidental will stick out like a sore thumb. Figuring out the scale and chord number for the accidental makes more sense when the student is familiar with the diatonic notes, meaning the scale and chord numbers that occur in the scale.

Exercises – Reason #5

Using the scales as an exercise is a great way to start your practice. I play scales in multiple octaves many times before a serious practice and teach my students to do that as well. Playing scales build finger dexterity, control, strength, and speed on the piano or any instrument.

But how can the music teacher make music scales fun?

I agree that teaching the music scales can be boring at times. That is why I wrote the “Scales on Fire!” series. Each major and minor scale is taught in a short, fun song, using rhythm and harmonies on the scale. The sheet music can be downloaded at MelodyMusicPublishers.com for all the major and minor scales for sharped and flatted keys, or each major and minor scale individually. There’s also a video showing myself playing each of them. Now you can teach your students each major and minor scale in a fun and exciting way!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Piano Songs at Melody Music Publishers

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Songs Sheet Music, Piano Teachers / Kathi Kerr

Hello fellow piano instructors! You may be wondering why you haven’t heard from me in a while. Well, I’ve put my “Tips for Teachers” videos and blogs on hold while making videos of all the piano compositions from my “Drill & Excel On the Piano” books. There is a video of each song individually as well as compilation videos. Here are the compilation videos per level for books 1-3. The videos show me playing along with the sheet music. They are now at Melody Music Publishers for viewing and for purchase. These songs in each level are useful if you need more repertoire for your student if you’re not using the “Drill & Excel on the Piano” series. Remember these are all original songs you can’t find anywhere else!

Late Beginning Level Piano Songs

Here is the video compilation for 16 late beginning songs. Each song stays within a five-note hand position in the keys of G and D. The rhythm includes quarter, half, dotted half, and whole notes and rests.

Intermediate Level Piano Songs

For the intermediate student, here is the video compilation for 16 original piano songs from books 2 and 3. Songs are in the keys of G, D, and A, and some are slightly outside the five-note hand position. Rhythm includes eighth, quarter, half, dotted half, and whole notes and rests.

“Mood Swing” Series for the Late Intermediate Level Piano Songs

This series called “Mood Swings”, is a short song in the classical style in all the major and relative harmonic minor keys. This helps the intermediate student to be familiar with all the key signatures. The notes include all seven notes of the scale in a two octave range. Rhythm includes eighth, quarter, half, dotted half, and whole notes and rests.

Late Intermediate Volume 1

For the late intermediate piano student, here is the first of three volumes of original songs you won’t find anywhere else! Key signatures include F, D minor, B flat, E Flat, and A, and including accidentals. There is no hand position. Rhythm includes sixteenth, eighth, quarter, dotted quarter, half, dotted half, and whole notes and rests. These songs are beautifully written to teach specific skills for the late intermediate piano student.

Late Intermediate Volume 2

Late Intermediate Volume 3

Our Youube Channel

Want to see more videos? Please go to our Youtube channel. If you like our channel, I need your help to spread the word to others. Can you like and subscribe?

Early Advanced Level Piano Songs

The next blog will include all the songs from “Drill & Excel On the Piano Book 4” for the early advanced student. These original songs include accidentals and rhythms up to all triplets (quarter, eighth, and sixteenth).

Drill & Excel On the Piano Book 5

I’m excited to let you know that I’ll be writing book 5 to the “Drill & Excel On the Piano” series in 2022. This will be like no other book for the advanced to late advanced student. The theory will include up to an advanced theory course, and world music and theory. And once again, all songs will be original and will be written for each chapter’s skills and information taught.

Please let me know what you think! Leave your comment below so teachers can have a conversation.

Melody Music Publishers Owner Kathi Kerr

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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How Do Children Learn Piano?

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

How do young children learn to play the piano? Playing the piano and reading the notes simultaneously requires multiple skills that may be challenging for students under seven. Tip #10 is the best way to teach a young beginning piano student.

Learning to play the piano requires learning the key names, playing them, and reading music, all at the same time. Learning all these skills simultaneously may be unrealistic for a child under seven. It may cause the student frustration and quit even before they’ve begun.

https://youtu.be/CGHzAYKk3DQ
Children Learn Piano

There are many piano method books for young students that offer different approaches.

There is a method called “rote learning,” a “copycat” type of learning. The teacher will play specific notes, and the student will play back what they’ve heard. There is some value in learning this way since a child at this age has learned everything by watching and copying. And it helps them to play songs right away, which keeps their interest. However, I don’t consider this a long-term teaching technique since they may not understand what they’re playing. It also doesn’t teach reading skills.
Another method is learning the notes by pattern numbers. However, this is also not effective long-term since most songs are not written out in pattern numbers.
Some method books use animal characters to teach fun activities that may not directly help teach the student to play. Even though it’s fun for the student, I feel this is a waste if too much time is spent on these activities.
Some books start with playing the black keys only with finger numbers. Playing this way doesn’t teach the key name and is not realistic to playing the piano.
Some books start with the middle C hand positions, where both thumbs awkwardly share middle C, then skip to other hand positions before the student has the chance to master each one.
Another method book offers colors for each key to play songs instead of the key name. In my view, this is an example of another waste of time and learning, since this is not used in reading music.

At Melody Music Publishers, we have two books for ages 4-8 called “Color It Say It Play it and Create It,” a 60-page book, and Color It Say It Play It and Create It Too”, a 50-page book. They’re taught for children to learn piano with clear steps that start with one concept and incrementally add the next concept needed, which is perfect for the young beginning piano student.

Both books start with the proper technique with knees at the edge of the keys, sitting tall, and letting the fingers relax to form a rainbow shape.

COLOR IT!

Keyboard geography is taught with a coloring book using the seven colors of the rainbow for the seven notes. It starts with coloring the sets of 2 black keys, then the 3 black keys, followed by just C-D-E in the first three colors of the rainbow.

SAY IT PLAY IT!

Songs to say and play, using letter names using the C-D-E.
Copycat games on C-D-E so the student can learn to listen and playback.
Familiar songs with letter names and words like fast and hold for the rhythm.

AND CREATE IT!

Then my favorite part, where the student does the “Write Your Own Song” using just the C-D-E notes in any order they want, can then play what they just created!

More Keyboard Geography!

Back to keyboard geography, coloring the F-G-A-B, then letter names for songs to practice all five notes. More copycat games follow with C-G.

Piano Exercises for children to learn piano

Then something is added that no other method book for this age has, EXERCISES! I believe even the young student needs to play exercises to develop their playing skill. These are patterns they can memorize and play multiple times to create control, steady beat, and speed! When students do not have to concentrate on the notes and rhythm, they can let their fingers fly on the keys.

Then there are more familiar songs with letter names and fast and hold for the rhythm, and another “Write Your Own Song.”

Rhythm for children to learn piano

Now rhythm is introduced, showing the value for the one, two, three, and four-count notes and rests (notice their names are not included). Worksheets follow for the student to fill out, then RHYTHM DRILLS, something not seen in any other method book for this age! I have found even a 4-year-old can play the rhythm drills and count aloud. Playing rhythm drills establishes fluency in reading, counting, and a steady beat. Then there is rhythm dictation, where the student listens and writes the rhythm they hear and a chance to create their own rhythm.

Songs With Big Notes!

Once the rhythm is introduced, familiar songs are given using big notes with the name inside and rhythm for the young piano student to read notes and rhythm.

The left hand is introduced with fingering, songs, exercises, and copycat games to say and play using letter names. A page of rhythm drills is given, then left-hand songs with big notes and rhythm. These are original songs that are written how the left hand typically plays.

Both Hands Playing Songs!

Then as you may guess, both hands are introduced with letter names to start and exercises. And finally, big notes with rhythm to play hands together. There are copy games for hands together that start with both hands playing the same note, then hands playing different notes. The book finishes with both hands playing familiar songs. Each song gets a little more challenging with a total of 33 songs.

“Color It Say It Play It and Create It Too”

This book starts out recapping book 1 at an accelerated pace, so students ages 7 or 8 can begin with this book. After the student completes playing hands together with big notes and rhythm, it then introduces notation for the treble clef notes C-G, worksheets, and four songs. Then the bass cleft C-G notes are taught, worksheets, and four original songs for the left hand, written in the left-hand style. A rhythm drill is included reading both treble and bass clef lines. And finally, six songs with both hands, all original except the last song, “Ode to Joy.”

The beginning of each book has assignment pages, note pages, and large manuscript pages for the student to write songs. The back of the book has a practice chart with points to give the student for passing assignments. And just for fun, there are Christmas songs at the back of both books. The student can play the arrangement for the level they’re in at Christmas time.

By the end of book 2, the young student can play with skill and read fluently in the C position! They’re now ready to progress to our “Drill & Excel On the Piano” series!

I have seen my own young students learn when one concept is taught at a time. The “Color It Say It Play It and Create It” series offers the perfect step-by-step model for the young student to learn and thrive on the piano!

I hope this helps you be the best teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Piano Method Books for Intermediate Students?

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

Are piano method books needed for the intermediate students? Most intermediate-level piano method books are merely repertoire for the student to play. But is there more for the intermediate student? Tip #9 are the information and skills the intermediate student should learn.

What do beginning piano method books teach?

Beginning-level piano method books primarily teach keyboard geography, note reading, a little rhythm, diatonic intervals up to a 5th, and the I, ii, IV, and V7 triads. After finishing levels 3 or 4, most students can read music reasonably well and identify the intervals and the triads. However, there is more for the intermediate student to learn beyond just playing songs.

Watch our video

More for the beginning student?

First, let’s start with the beginning-level books. Here’s what you’ll find in “Drill & Excel On the Piano Book 1” from Melody Music Publishers that you won’t find in most beginning-level method books:

Rhythm Drills for the whole, half, dotted half, quarter notes, and the rests with multiple rhythm drills
1. “Rhythm is the most neglected part of most method books, even at the beginning level. Most piano method books only show the note’s value. However, simply knowing the value doesn’t create a sight-reading skill. Playing rhythm drills where the student plays and counts aloud (using a metronome) on one note is needed to read rhythm fluently”.
Theory
1. notes in order on the staff with multiple note reading worksheets
2. C scale hands separate, then hands together for one octave, then multiple octaves (I have found even beginners are capable of playing scales in multiple octaves)
Exercises
1. multiple 5-note patterns (most instructors will add a book like Hannon for exercises; however, it uses a 6-note pattern, which can be difficult for a beginner)
2. Staccato exercise – I’ve never seen this unique exercise in any method books, but it is an important skill to learn
3. Independence of hands playing different dynamic levels and staccato/legato in each hand simultaneously using motor movement skills
4. Multiple notes exercise learning to play 2, 3, and 4 notes together.
5. Dynamic exercise for learning control in playing with different volumes and velocity (firmness) of the key – This is another unique drill that is critical to learning to play with dynamics.
60 original songs in the C position to create a sight-reading skill in this position

Easy to follow steps

After book 1, the first chapter reviews the previous books so that the intermediate student can start with books 2, 3, or 4 without missing essential information needed.

The late beginner/early Intermediate Student

Here is what you’ll find in book 2 for the early intermediate student not found in most method books:

Rhythm drills for the eighth note and rest, dotted quarter note (explaining the formula for the dot), the tie, and the 6/8 meter
Theory
1. G and D scales in multiple octaves
2. remaining notes on the staff with multi worksheets
3. diatonic intervals from 2nds through the octave with multiple worksheets for learning at sight (this helps in sight-reading)
4. dynamic markings and musical symbols, including the pedal and a drill for how to use it
Exercises
1. intermediate level exercises played at a faster tempo
2. grace note exercise teaches how to play the grace notes with a quick and light touch
3. diatonic interval drills using every finger combination – this unique drill teaches the student how to “feel” each interval with every possible fingering without looking and prepares the student to play songs outside the 5-note hand position
60 original songs in the keys of the scales taught

The mid-intermediate Student

Here is what’s included for the mid intermediate student in “Drill & Excel On the Piano Book 3” not found in most method books:

Rhythm drills for the sixteenth note and rest, dotted eighth, and the eighth, sixteenth, and quarter triplets
Theory
1. major scales A and F in mulitple octaves
2. minor scales Am, Em, Bm, F#m, and Dm
3. explanation of relative minor scales and accidentals
4. chromatic scale
5. whole and half steps
6. chromatic intervals and how to name them
7. the four kinds of triads
8. three kinds of minor scales
9. Picardy 3rd
10. dissonance and resolution
11. phrases
Exercises
1. finger pedaling to learn how to hold one note while playing other notes simultaneously
2. embellishment exercise needed when playing Baroque and classical style music
3. left-hand drills show the typical left-hand movement to play without looking
4. chromatic intervals with every finger combination – this repeats the previous diatonic intervals, except for playing the chromatic intervals, which completes EVERY finger combination when moving from one note to another
5. chromatic scale
6. consecutive 3rds – this is a challenging drill that is essential for playing intermediate and advanced level repertoire
7. arpeggios – which are great as a drill and to learn all the triads’ inversions
8. repeated notes and held notes while changing fingers – this is an essential skill to fingering
9. left-hand bass jumps without looking – this skill is needed when the left-hand moves from bass note to chord
60 original songs in the keys of the scales taught

Repertoire

Choosing a repertoire for the intermediate student has its challenges, whether using a method book or not. You want to make sure it’s the right level, not too challenging or too easy, and interesting for the student. Using the “Drill & Excel On the Piano” series is easy because the songs are specifically written for the chapter’s level, skill, and information taught. No more wondering if the repertoire is the right fit for the intermediate student. And the songs are written in various styles, giving the student exposure to them, from classical, pop, ragtime, jazz, and folk styles. When the student plays songs using what they’ve just learned, it creates deeper learning and understanding.

Late Intermediate Student

And finally, for the late intermediate student in “Drill & Excel On the Piano Book 4”, here is what you’ll find:

Rhythm – odd meters and counting the 6/8, 9/8, and 12/8 in big beats, triplets with 2 against 3 and 3 against 4
Theory
1. Scales B flat, E flat, G minor, and C minor
2. triad numbers for major and minor keys
3. improvisational tools
4. music terminology
5. circle of 5ths
6. adding the 7th, 2nd, sus 4th, and 6th to triads
7. blues scale
8. 7th chords up the scale.
Exercises
1. working on the 4th and 5th fingers, which are the weaker fingers
2. playing multiple notes while holding a note (a great skill needed for intermediate and advanced repertoire)
3. independence of fingers when you want one or more notes played louder than the others within one hand
4. thumb exercise
5. dominant 7th arpeggios, which is another arpeggio exercise for both skill and learning the dominant 7th chords around the circle of 5ths
60 original songs in the keys of the scales taught

Go to the next level!

Everything is taught in an organized, step-by-step way that anyone can learn. Finally, there are piano method books for intermediate students that will help them excel to the next level!

I hope this tip makes you the BEST music teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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How To Do a Performance Practice!

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

You spend hours practicing a piece to get ready for a performance. But is there a difference in practicing in the final stages? The answer is YES! Tip #8 is part three of my practicing series on how to do a performance practice!

Before the Performance

Tip #4 was how to practice, namely spot practicing troubled areas. However, there is a different strategy for practicing in the final weeks and days before a performance.

I used to think once I had worked through all the troubled areas in a piece, I was ready to perform it. However, after several poor performances, I realized that knowing the piece didn’t necessarily mean my performance would be flawless. Indeed, the better you practice and work through all the troubled spots, the better your performance, but other factors also play into it. Here are practice strategies in the final stages before a performance that will help keep your performance smooth. These are things I wish I would have known this in my early years of performing.

#1 Record yourself and listen with a critical ear

After fixing the troubled spots, record yourself. There’s a vast difference between listening while playing and listening to a recording of your playing, where you can listen with a critical ear. As you’re listening, circle areas that you may need to go back and spot practice.

#2 Play the piece without stopping as in performing

Once a piece is learned, and troubled spots fixed, play the piece without stopping as though you’re performing it. Play THROUGH the mistakes, and resist the urge to stop and fix them. As the saying goes, never stop while performing, so you should practice it this way. As you play, imagine an audience is listening to you. The more times you play a piece through without stops, the more confident you’ll be when performing, and the more confident you are, the better you’ll perform!

#3 Play the pice “cold” for a performance practice

The final step to preparing for a performance is how you play the piece “cold,” how you play before warming up. Playing this way is how you will be performing it, so it’s good to practice it this way. It’s also a true test for how well you know the piece. If you still have troubled areas, return to spot practicing.

During the Performance

#4 What you think about while performing matters!

When we learn a new skill, we use the frontal part of our brain, which means we cannot have any other thoughts while doing the task. Remember learning to tie your shoes or driving? You probably couldn’t think about anything else until you had it mastered. Once we’ve mastered a skill, it then goes to the back part of our brain, where we do it without consciously thinking about it. Once you’ve learned a piece, it leaves your thoughts open during a performance, like the fact that people are watching you or not making mistakes. I’ve had performances where I began playing perfectly, but as soon as I thought, “Don’t make a mistake,” is when I DID make one.

Train your thoughts to ONLY think about the music you’re playing and not care that people are watching you. Concentrate on how you’re enjoying playing, and you’ll give the performance of a lifetime!

I hope this tip makes you the BEST music teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Bad Piano Techniques and How to Fix Them!

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

Tip #7 – Singing or playing an instrument requires proper technique. Improper piano technique can prevent the pianist from attaining their potential and may cause injury. I will be highlighting bad piano techniques and how to fix them!

#1 Sitting Too Close and Too Low

Most pianists, even professional pianists, often sit too close and too low to the piano. Sitting this way causes the hand, wrist, and arm to be in an incorrect position, possibly causing pain and tiredness after prolonged playing.

Correct Piano Technique: Knees at Edge of Keys

Your knees should be aligned with the edge of the keys and your elbows in front and not beside your body. For the height, your waist should be level with the keys. For children, have them sit on something (a phone book is perfect for this). The wrist should be flat, not lowered, making your hand, wrist, and arm level. Having a low wrist puts pressure on it and makes the fingers do all the work, causing them to tire quickly. A lowered wrist may also cause carpal tunnel, pain, and numbness in the fingers. Sit tall (don’t slouch) at the front edge of the bench, which gives you a forward angle that helps when needing to play with force, using gravity to assist in playing. Sitting on the edge of the bench doesn’t apply to children if their feet cannot touch the floor.

#2 Fingers too Flat or Too Curved

One bad piano technique I’ve seen is the wrong positioning of the fingers, from being too flat to having too much of a curve. Some method books describe the position of the fingers as though you’re holding a ball. The problem with this concept is the fingers will be naturally tense.

Correct Piano Technique: Relaxed and Rounded Fingers

Your fingers should be as relaxed as possible. For a beginner, relaxing is not the easiest way to play, but it gets easier with skill. The simplest way to having a correct finger position is to place them palms up on your lap and let your fingers relax. That is the EXACT way to hold them on the piano. Imagine the rainbow curve, which is the exact curve needed. Play using the pads of the fingertips, not above the first joint (too low) or the part just below the fingernail (too high). Also, keep the first joint from bending. Unfortunately, pianists can never have long fingernails; otherwise, it will hinder playing at the correct part of the fingertip.

#3 Moving Hands and Arms Too Much

Correct Piano Technique: Little to No Movement

The goal of playing the piano is to keep your arms and hands as still and “quiet” as possible. The composer Mozart was known for placing a coin on the student’s hand while playing, with the goal to keep it from falling off. I’ve had fun doing this with my students as well. The fingertips should be “glued” to the keys, only going down and using the weight of the fingers to play the keys.

Good Piano Technique is Critical!

Having good piano technique helps the pianist play the very best. It also helps with the physical aspect of playing the piano to prevent tiredness and pain. You, the piano instructor, can help your piano students play well, not despite their technique, but because of it.

I hope this tip helps you be the best piano teacher EVER!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Teaching A Music Transfer Student!

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

Tip #6 – Teaching a music transfer student, someone that has taken lessons previously, is probably the most challenging of students for a music teacher. You don’t know what they know or, more importantly, what they don’t know, and they will compare you to the previous instructor. This tip will give you great insights into making a smooth transition for the transfer student and can apply to any instrument.

Be Prepared

Before the first lesson, ask the student or parent what curriculum they used or music they played with the previous instructor, as well as any notes the instructor had written. Take the time to read and become acquainted with the information they give you. Knowing their background will help you determine their skill level and style of the previous instructor. If possible, try and continue with their curriculum, especially at the beginning, to keep a smooth flow into your teaching.

Establish a rapport with the music transfer student

The first lesson is the most critical and will set the tone. Start by getting to know the music transfer student and letting them get to know you. Spend a few minutes to let the student know your training background and experience. Then take a few minutes to ask the students questions about their past piano experience and what they are interested in learning. Knowing this will help you plan the best path for the lessons. It will also help the student be more comfortable and let them know you care about their interests and goals.

The first lesson

Once you’ve made the student feel comfortable with you, have them play a piece that shows their highest level. Upon hearing them play, you can tell their strengths and weaknesses. Asking them specific questions about the piece they played is a good way to determine what they know and don’t know.

Make Changes Slowly

You may be tempted to make multiple changes from the start, but be careful to present changes slowly and incrementally. They will need time to adjust to your teaching style and personality, and that alone may be overwhelming at the beginning. The most challenging changes are bad habits or wrong technique. Start with complementing the student on what they do well, then make changes one at a time. However, it is good to offer some information or changes in the first lesson to show them you can take them to the next level.

Be Careful Commenting on the Previous Music Teacher

Whether the music transfer student had a positive or negative experience with the previous instructor, it’s essential to keep your comments at a minimum. Keep the focus on the direction between you and the student. Telling the student they were taught incorrectly may cause frustration and a sense of wasted time and money. It may also cause a division between you and the student.

Not every student-teacher is a match for the music transfer student

It Gets Easier

While you may feel like you’ll be the “new” instructor forever, before long, you’ll be their new favorite! Just like any relationship, it takes time to establish. Be patient, and soon you’ll be the instructor they compare others to!

I hope this tip helps you be the BEST music teacher ever!

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Sight-Read Sheet Music

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Songs Sheet Music, Piano Teachers / Kathi Kerr

Tip #5 – Sight-reading sheet music on the piano or any instrument is technically reading “at sight,” or the ability to read fluently, without counting the notes. Learning to read music can be as complex as learning a new language and takes time and repetition to master. However, in time it will pay off, and soon the student will read music as effortlessly as reading words! Here are steps in the process of sight-reading.

Knowing The Logic of the Written Music

The written music as we know it today began around the 9th century in Italy (which is, by the way, why the terms are in Italian). Imagine the task of writing down the music you hear? It has evolved over the centuries and looks different today than their original writings, but the “logic” of the notes are still the same, ascending and descending on the staff. Unfortunately, today’s students are taught mainly by acronyms like “Every Good Boy Does Fine.” This way of teaching the notes is ineffective for sight-reading sheet music in two ways: 1) it doesn’t show the staff’s logic, and 2) counting to identify the note is too slow to read fluently. If you teach your student the logic of the notes ascending/descending right from the beginning, they will remember them better.

A Small Number of Notes At a Time

Learning to read music can be overwhelming for a student, so it’s best to start with a small set of notes in order on the staff at a time. Repeatedly reading songs with the same set of notes will instill a visual memory of each note to create fluency. Our series “Drill & Excel On the Piano” takes five notes per chapter, with 20 songs using just those sets of notes. By the end of the chapter, the student can sight-read these notes with ease!

Rhythm in Sight-Reading

For many students, the rhythm is often the weakest part. However, if the rhythm is taught early on in the student’s training, they will play correctly automatically. I use rhythm drills at the start of lessons with a beginner, playing the rhythm without notation on one note while counting out loud. Repeatedly playing the rhythm creates fluency. For challenging rhythm in a song, you can have the student play the rhythm on a single note. Melody Music Publishers sells “Rhythm Workbook 1” and “Rhythm Workbook 2” for beginners to late intermediate. By the end of each book, a student can read the rhythm fluently!

Don’t Look At Your Hands

I’ve seen students look back and forth between the sheet music and their hands while playing. This way of playing creates two problems: 1) it stops the flow of reading, and 2) it hinders the student from remembering where the keys are and feeling the notes’ distance. On the other hand, when the student keeps their eyes on the music, it creates a smooth reading and a feel for the keys.

Read Ahead

Another essential point to sight-reading is reading one beat to one measure ahead. As a “trick” question, I ask my students if they should “think” about the note they’re playing. If they say yes, I’ll say, nope, too late. You have to know the note before playing it, so reading ahead of your playing will ensure playing correctly and fluently.

Interval Reading

Since music is a set of intervals, the distance from one note or set of notes to the next, identifying intervals by sight is another way to sight-read. This way of reading is called “interval reading.” The “Drill & Excel On the Piano” series has interval worksheets for the student to write the intervals without counting to know them at sight.

Sight-Read Takes Drills and Repetition

Just like learning a new language, reading music fluently takes time and repetition. Many methods claim a student can read fluently in a short amount of time. That is not realistic. Letting the student know it will take time to be fluent will help them not to be frustrated. However, let them know that once they’re reading fluently, they can play a new song with ease, and reading music is no longer a chore but FUN!

These books are an excellent curriculum for home-schoolers too!

I hope this helps you be the best teacher ever!

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HOW to Practice a Song on the Piano

Leave a Comment / Piano Method Book Review, Piano Teachers / Kathi Kerr

Tip #4

In my previous blog, I talked about how to motivate a student to practice. Now I want to talk about HOW to practice a song on the piano. Practice doesn’t always make perfect, but perfect practice makes perfect. The amount of time doesn’t automatically mean improving. A lot can be done in a short amount of time if practicing correctly. Practicing incorrectly may do more harm than help.

What Practicing is NOT

Playing a song from beginning to end is not a practice; that’s called a PERFORMANCE! Here are ways to practice a new song.

First Step

The student should begin each practice with exercises and warm-ups. Doing this helps to get their mind and fingers ready. For a new piece, let your student play it from beginning to end, mistakes and all, to get acquainted with the song.

Spot Practice on the Piano

After playing through the song, it’s time to spot practice the more challenging parts. It may be a few notes, a measure, or an entire line.

1. Play notes without rhythm

If the notes are the problem, play them without rhythm or steady beat. The student can start with hands separate, especially the hand that may give them the most trouble. If the notes jump around, have the student play them without looking to “feel” the notes’ distance.

2. Play rhythm without notes

If the rhythm is challenging, have the student play the rhythm on one note and count out loud. This way of playing is what I call a rhythm drill. The student can start with hands separate and then both hands to learn how the rhythm lines up.

3. Alignment Practice

If the student plays hands separately well but can’t play them together, I suggest alignment practice. Have the student play the notes with both hands VERY slowly, with no rhythm or steady beat. Notice where the notes line up in each hand and how it feels to play them together. When the student can play the notes together, play with the rhythm at a very slow tempo. And finally, increase the tempo incrementally until it’s at the desired tempo.

4. Repeat section immediately until learned.

When the student plays the troubled spot correctly, have them immediately repeat it until it’s solid. The sooner the student repeats the area when it’s still fresh in their mind, the better the retention. Once it’s learned, have the student practice a measure before and after several times to ensure it’s smooth going into and out of the troubled area. The gauge to having learned the troubled areas is how they play it cold at the next practice. If the student makes the same mistakes, they will need to repeat the spot practicing steps.

5. Record the student

It may be difficult for the student to listen to themselves while playing, so recording the piece is an excellent way to critique it. Listening to the recording is much different from listening while playing. The student may want to circle the parts they may still need work on and then go back to spot practicing those areas.

Now Play the Entire Piece

Once the student has untangled the challenging areas, they can now play the song from beginning to end. When the student has played the notes and rhythm correctly, this is an excellent time to focus on dynamics and phrasing.

6. Final Practice on the Piano

The last step to finalizing a piece is to play it without stopping. If the student is unable to, they may need to go back to spot practicing certain areas. If the student will be performing the piece, a week or so before performing, have them play the piece without stopping, even playing through errors. Being able to play it all the way through without stopping will give the student confidence when performing.

I hope this tip helps you to be the best music teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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How To Motivate The Music Student to Practice

Leave a Comment / Piano lessons, Piano Method Book Review, Piano Teachers / Kathi Kerr

The second greatest challenge a private music teacher has after attendance is getting students to practice. However, your job isn’t to make a music student practice; it is to make them want to practice. When you look at it from this perspective, it may help change your approach. I’m not talking about an occasional week where the student was out of town or too busy to practice, but a student that perpetually doesn’t practice. The responsibility for the student’s motivation to practice comes primarily from you, the music instructor.

Does Brow Beating Work?

If a student has a track record of not practicing, your “browbeating” or “guilting” them into it is NOT going to work. All this does is make the student feel bad about the lessons and may cause them to quit. If a student tells me they haven’t practiced this week, I tell them it’s ok and focus on practicing more the following week. Your negative comments won’t change the past. So music and piano teachers, let’s stop doing this, ok?

But How Do You Motivate Them to Practice?

The first step in motivating a student to practice is finding out why they’re not practicing. This kind of thinking takes discernment on your part. Here are some possible reasons and solutions for a student’s lack of practice.

Problem: Too Busy

Being too busy is probably the biggest reason for a student not to practice or at least the biggest excuse. For children whose parents put them in so many programs and school functions, their (lack of) time is your biggest competitor, not only for practicing but also for getting music students. Adults have so many responsibilities that it’s difficult for them to put in the time to practice.

Solution: Schedule Practices

Since a week can go by without practicing, having the student schedule a time to practice will help make it a routine. I suggest practicing before or after homework, school, or dinner for kids. Or practice at the same time as the lesson itself. For adults, it could be before or after work. Whatever time works the best when they’re fresh and have undistracted time. Also, tell the student to practice even if they only have 15 minutes sporadically. Multiple 15-minute practices can add up to sufficient time and are better for a beginner student.

Problem: Confused about What to Practice

I believe this could be why students do not practice, even though they may not admit to it. This reason may be the most challenging to discern. Some students will assume it’s their fault for not understanding and may not ask you questions. Others might be afraid to ask you questions if you had already explained it. Another reason a music student may not understand is a lack of clear and concise assignments.

Solution: Ask a Lot Of Questions and Give Clear Assignments

The most important thing you can do as a music teacher is to let the student know they can ask ANYTHING of you, even if you had already explained it. Never let the student feel intimidated to ask you questions or feel they’re not smart enough to understand. I tell my music students I will explain something a million times if needed! And to make sure they understand, I always ask them questions after explaining a new concept. Also, make sure your assignments are written down and are clear and specific. After writing down the assignments, again ask them if they have any questions. Asking them questions will give you more insight into their thinking. And it sets the tone that questions are good, making them more at ease to ask you questions.

Problem: Non-Realistic Goals

I’ve heard teachers (and parents) tell a beginning student to practice an hour a day. That’s unrealistic and will cause the student to fail ultimately. The discipline of practicing is something learned, just like learning the instrument itself. The beginning student not only doesn’t have the discipline, but they also don’t have enough information TO practice for that length of time.

Solution: Short Practices Done Often

For the beginning music student, the best way is multiple, short practices. For ages 4-8, I recommend 10-20 minutes at a time. This time frame doesn’t sound overwhelming to the beginning student. As the student progresses, the longer they can practice. The beginning of each practice is when the student is the freshest and gains the most improvement. I tell my students to start each practice with the most challenging parts.

Problem: Family or Personal Problems

Life is messy at times, and you may have a student going through family or personal problems. I don’t recommend asking personal questions since you’re there as a music instructor only. But what if their problems continue and hinder their practicing and learning?

Solution: Be a Good Listener

Without asking personal questions, you can ask the student how they’re doing. I usually start a lesson by asking how their week has been. By showing them you care may be enough to have them focus on the lesson. However, if the student is troubled, asking how they’re doing may help them open up. I don’t suggest giving your opinion on their situation, but sometimes listening is all that’s needed, and giving them your empathy. Giving them the gift of music may be the help they need and may encourage them to practice.

Problem: Not Interested In Music

The lack of interest is the most challenging of all and may not have a solution since music is not everyone’s cup of tea. I once taught a little boy for one year. No matter how much I tried to make the lessons fun, he hated it. His mom was diligent in making him stick with it. However, after a year, I asked him if he liked to play the piano. He said no, of course. Then I asked if he liked the “sound” of the piano, and again he said no. That’s when I let his mom know after a year that I didn’t think it was in his DNA to play the piano.

However, I wouldn’t have suggested he stop after only a few months of lessons. A beginner’s first 6-12 months is the most challenging and can be the opposite of fun. It’s good to remind the student to give it time, and the better they get, the more fun it becomes. However, if a student is still not interested even at the intermediate level, there may be different approaches you can take before giving up.

Solution: Different Path

The late beginning to early intermediate music student is an excellent time to show them different styles or songs or ask what they’re interested in. You can add these to the regular assignments or change the entire lesson. Or, if your student has only played by reading music, you may want to change to by ear and improvisation, or vice versa.

A Final Note

Finally, I don’t tell my students to practice; instead, I give them assignments. During the lesson, they either pass or don’t pass them. I’ve noticed that students want to do well to pass, motivating them to practice. Their reward is my accolades when they’ve done well and get to move on to the next assignment. For the young student, I give points when passing each assignment or practicing five times in a given week, with a prize after so many points. You’ll be amazed at how the music student will have time to practice when there’s a prize involved!

I hope this tip helps you to be the best music teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Music Student Attendance Critical – Tip #2

Leave a Comment / Piano lessons, Piano Teachers / Kathi Kerr

Tip #2

The most critical part of keeping a music student long-term is attendance. With everyone being so busy these days, that’s a real challenge. However, when lessons are frequently canceled, it can hinder the learning progress and may cause students to cancel early on.

Make Sure You Attend Each Lesson

You, the instructor, set the tone for the lessons. So if you’re not committed to the schedule, neither will the student. With exceptions to unavoidable events, it’s critical to attend every lesson.

What If The Student Cancels?

The student’s attendance is a whole different matter. What do you do when a student consistently cancels? And worse, EXPECT you to reschedule or give them a credit? Offering make-up lessons cause you to use another time slot you’re not getting paid for. If you have plenty of openings, that may not be a problem, but what if you have a booked schedule?

What Is The Solution?

Having a clear policy on cancellations is critical. I’ve heard many extreme policies. Some will have a 24 or 48-hour rule where the student is guaranteed a make-up or credit. But how is that fair to you when you reserve that block of time expecting to be paid? And if the student isn’t held accountable for their cancellations, there’s no incentive for them to attend every lesson. Without consistency, the learning progress is slow to none, and the student may lose interest. On the other hand, policies that NEVER offer make-ups may be too harsh, causing you to lose students.

The Best Policy

I believe a happy medium is the best policy that is fair to you while offering some flexibility. Here is my policy in a sentence: For student cancellations, there is no credit, and make-up lessons are not guaranteed; that is up to the instructor’s availability. This policy lets the student know they’re accountable for attendance and doesn’t obligate you to make it up while giving some flexibility.

To Make-Up or Not Make-Up?

I hope this tip helps you to be the best music teacher ever!

Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.

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Teaching a beginning piano student long term!

2 Comments / Piano lessons / Kathi Kerr

So you just signed up a new beginning student. That’s great! But if you’ve been a piano instructor for more than five minutes, you know the most difficult part is keeping a beginning piano student long term!! An intermediate student is rooted, so you don’t have to work to keep them, however there’s challenges for that level as well. It’s often difficult to teach a beginning piano student long term through what I call the “beginner’s hump”, the first 6-9 months of lessons. Since the student has no skill, learning the piano can be frustrating and the opposite of “fun”. There will always be students that will stay no matter what you do because it’s in their DNA to play the piano. Conversely, there are the students who will never learn (or desire to learn) the piano. So let’s leave those two type of students out of this discussion. The majority of students will be in the middle; they’re probably not going to make music a career, but have a love and desire to play the piano. This can apply to both children and adults.

So what are the do’s and don’ts for keeping the majority of the beginning piano students long term? In over 30 years of teaching, I’ve been able to teach most students for a year or more, and some for multiple years. Here’s a list of what I’ve found that help keep the beginner student motivated through the difficult beginning stage.

Be fun and encouraging in the piano lesson

As the piano teacher, you create the environment. If you’re frustrated or bored, the beginning piano student will feel that from you. This can hinder their motivation to learn. I believe a lot of piano teachers make the mistake of teaching ALL students the same, no matter their level. However, a beginner student needs a lighter approach and not the intensity you may have with an intermediate or higher level student. The beginner may be nervous about playing and making mistakes. Being encouraging is very important. They will believe in themselves if they feel YOU believe in them. Let the student know it’s OK to make mistakes, and that it’s part of the learning progress. You may also want to let them know you made mistakes when you were a beginner. This approach can be used for all ages, not just the young student, as the older child/adult needs encouragement the same (maybe more?). And giving the student accolades is not only for their confidence, but also instills playing correctly, as he/she may not even know they played it correctly! This approach is especially important when correcting the student. Keep the critique comment to their mistake only and how to correct it, never a brow beating comment. Most of all, just have fun with the beginner so they enjoy learning and associate piano and music with something that can be enjoyed.

Don’t overwhelm the beginner piano student

Out of all the do’s and don’ts, this is probably the most critical part for the first 1-3 months of lessons. Once a student feels overwhelmed and feeling unable to understand or play what’s asked, the student may want to quit. Usually the student will come up with every excuse for quitting EXCEPT feeling overwhelmed and frustrated. Most students will blame themselves, thinking they’re just not smart enough. As teachers, it’s easy to give way too much information out of our own passion for music. Also it’s easy to forget how difficult even the simplest of playing can be. It’s important to “think” like a beginner when teaching. The very first lesson is the most crucial lesson in setting the standard. I always tell my staff, it’s better to UNDER give than to OVER give on the first lesson. If you have a quick learner, you can always pick up the pace on the following lessons. It’s difficult to impossible to reverse the pace after the first lesson. To make sure your student understands, it’s best to ask him or her questions. I always ask the student way more questions than they ask of me. I never feel like a student understands fully after only explaining a new concept once. I’ll either have them “do” the thing I just explained, or ask questions. Games and drills are a great way to make sure he or she understands fully, and can also be fun for the student.

Be flexible in the direction of the lesson

I’ve often heard teachers writing a lesson plan for private lessons. I’ve NEVER written a lesson plan for a private lesson. The great thing about teaching privately is you can approach each student uniquely. A lesson may go in a different direction than you had expected. It may depend on whether the student understood the previous lesson (and may just need a review), or a question that needs a full lesson to explain. Some students may want to learn something different than what you’re currently teaching. This happens more with the older child or adult. I do want to make it clear that I believe you, the instructor, is ultimately in charge of the direction taken. You should never be talked into teaching anything you feel is not in the best interest of the student. It may be a song beyond their ability, or jumping ahead to a level that will bypass important steps. However, if it’s within their level and ability, I see nothing wrong with diving into it. Or even better, using a part of the lesson. You may have a student that loves to write songs, which I definitely encourage students to do. So why not use the last 5 minutes to let them play their song for you? It could turn into a teaching moment as well as be a lot of fun for the student.

Learn how to “read” the student

Piano teacher and student

This is similar to not overwhelming the student, but goes deeper than making sure the student fully understands. As lessons progress and you get to know your student, it’s important to make sure you’re sensitive to what may be happening in his/her life. There may be times when a student is having trouble at school or home, or with a relationship, etc. Some students will be outspoken about what is going on, while others will be quiet. I always start out my lessons with “How are you doing?” and “How was your week?”. For me, this is not just a way to start the lesson, but a chance to feel how the student is doing emotionally. This may impact how you teach that particular lesson. I’m not advocating asking personal questions or having a therapy session, but if you feel there may be something bothering the student, it can hinder their learning. If it continues, you may need to speak to his/her parent(s), if a child, or for an adult, let them open up to you if they wish. If the student feels they can be somewhat open with you, it helps to create a bond in the lesson and may help in the learning progress. I do want to make it clear, however, it’s important to keep a boundary between you and the student. Although you want your student to feel comfortable, the student is not your child or best friend, so make sure to keep the relationship professional. This can go for you, the instructor as well. If you’re not having a great day, put your poker face on when teaching, and never let your emotions come into play in the lesson.

Different types of learning

Another aspect of “reading” the student is figuring out how he or she learns. Some students learn by verbal explanation, while others learn by watching. Some only learn when actually playing. There are specific methods for the different learning types, so that may help you decide what method to use. That being said, I think it’s a good idea to teach children the opposite of how they learn after the first 9-12 months of lessons. This may help him/her to learn in different capacities since they may need that skill in a job as an adult. There’s also the learning impaired, such as autism, dyslexia, dyscalculia, etc. I once had a student with a disorder where his brain processed faster than his motor movement. I tell most students to read ahead, but with him I had to tell him NOT to read ahead and offered a slightly different approach.

Practicing…the #1 reason to cancel

I’m sure you’ve had many students (or parents of students) cancel for a lack of practicing. I’ve actually never had one of my own students cancel for this reason. That’s because I don’t mention practicing to my beginning students under the age of eight. Wait what? I can hear you all asking….don’t talk about practicing? Yes you heard me right! I’m not saying practicing is not critical for a student to learn, because it definitely is! However, I don’t expect a young beginner to practice for any length of time. The young student hasn’t the discipline or enough knowledge TO practice for more than 5-10 minutes. I simply give easy assignments and tell the parents to have their child “play” it for them. For students over the age of eight, I talk briefly about practicing daily for only 20 or so minutes at a time. This is usually the longest time frame a beginning student can handle, and it doesn’t sound like a daunting task! I give clear assignments for the next week’s lesson so the student knows exactly what to play (notice I didn’t say the “p” word). If the student doesn’t play it to my standard to pass in a lesson, I just re-assign it for the following week until it’s mastered. And when a student tells me they didn’t have much time to practice, I tell them, “That’s ok, let’s shoot for a better week next time”.

Piano lessons are never a waste of time!

The words “You’re wasting MY time and your parent’s money” should NEVER come out of your mouth! I believe learning to play the piano is never a waste of time or money, even if the student seems disinterested. There’re so many good things that come from music lessons that can help in a child’s education, and into their adult life. Also, you never know if at some point the disinterested student may suddenly “click” and love learning to play the piano. However, if after a year or more of lessons they’re still not interested, I would put them in the 2nd category of students I mentioned at the beginning of this blog. In that case, politely tell the parent(s) it’s probably not the student’s desire to learn piano. Never feel like it’s an insult to you if this happens.

Time and be consistent

Once lessons begin, the beginning student may realize learning to play the piano (or any instrument) takes more time than thought. I always laugh at methods that tout learning to play the piano in 3 easy steps or learn 20 songs in 20 days! That’s unrealistic and may set up the piano student for failure. I relate lessons to a marathon, not a sprint. Let the beginning piano student know they’ll learn everything in time. And since it does take time, the lesson itself needs to be consistent. If there are a lot of lessons missed, this will hinder the student’s learning progress. There will always be the student that is committed and attends every week. And conversely, there will be the student that constantly cancels lessons. Since you can’t control the student’s attendance, you CAN control yours. Make sure to schedule lessons at a time you can teach every week. Of course life happens, and there will be lessons missed occasionally, but that should be a rare occurrence. If you have a student that constantly cancels, you may need to change the schedule so he or she can attend every lesson. I have seen a trend that when students miss a lot of lessons, they usually cancel all together.

Policy for student cancellations

Some instructors and studios will allow a student to cancel if they give a 48 hour notice with no charge. Or some will guarantee a make up lesson for some or all student cancellations. While that sounds like you’re being accommodating to the student, that actually tells the student that cancelling lessons is OK. At Melody Music Studios, I charge students if they cancel with no guarantee of a make up lesson. This makes the student accountable in attending all lessons, and in the long run, is better for their learning progress. Also allowing a student to cancel without paying is, in my opinion, unfair to the piano instructor who blocks time in their schedule for each student and depends on each lesson for their income (do I hear a collective amen shout from all piano instructors?).

Use the right book

A Complete Piano Method Book for the Beginner

Using the correct book for each student is important. A lot of method books can be confusing and missing important information. At Melody Music Publishers, there’s a book for sight reading skills as in the “Drill It and Kill It” book, as well as books on playing chords and improvisation, such as the “Chords & Improvisation on the Piano” and “Fake It Til You Make It”. Our unique line of method books are written in a comprehensive and easy to follow way on how students think and learn. Drills, written, and playing assignments are given for students to learn in a deeper level.

Summary

To summarize, it’s important to be encouraging to the beginner and let him or her know you’re on their side! Make sure to keep the lesson in a clear step by step fashion and realistic to the student’s ability. Listen to the student’s interests and be flexible with the direction of the lesson, as well as their emotional state. Don’t stress practicing at the start of the lessons. Keep a consistency in the weekly lesson and schedule them at a good time for you and the student. Use the right book for each student. And finally, when finishing teaching a student, no matter how long a period it may be, end your time with a positive outlook on learning to play the piano. The ultimate goal in teaching piano is helping the student realize he/she can enjoy playing the piano for a lifetime!

Kathi Kerr is owner and founder of Melody Music Studios, where she hires music and voice instructors across the county. She also is owner and author of Melody Music Publishers, which is a line of piano method books. Check out her books here.

To all piano instructors: we would love your comments and opinions, so feel free to leave your comment below! This is a forum FROM piano teachers FOR piano teachers! Thank you for your dedication to teaching piano and music to others!

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