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.
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“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.
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Late Intermediate Volume 2
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Late Intermediate Volume 3
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Our Youube Channel
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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.
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.
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
If you’ve ever watched someone playing piano on TV (which we know they’re not really playing), they will usually move their hands and arms way too much. Moving unnecessarily may cause you to play incorrect notes, especially when playing quickly, and tire more easily. Moving the hand up and down is never needed. A technique called “rolling the wrist,” is where the wrist is lowered for stressed notes and raised for lighter notes. This kind of motion, in my view, is unnecessary and may make it difficult to play quickly and accurately.
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.
With that said, there are some movements that help when playing. One movement is pivoting left or right towards the notes you’re about to play. Another is positioning the hand towards the back of the piano to accommodate the black keys, especially when the shorter fingers (the thumb and pinky) play the black keys and longer fingers play the white keys. And finally, another movement that is an exception to the fingers staying glued to the keys is raising the entire hand for staccato and accented notes or playing loudly. Raising the hand to play the keys gives momentum and strength.
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.
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?
When deciding to reschedule, consider the student’s track record. For the student that rarely cancels and gives advance notice, doing your best to make up the lesson is a good thing. If you don’t have any other times available, extending the following lessons is the easiest way. However, for students that cancel regularly, I recommend NOT giving a make-up lesson, even if you’re able to. Continually rescheduling perpetuates their lack of commitment. When I have one of these kinds of students cancel, I politely tell them I’ll see them next week with no mention of a make-up. If they ask for one, I tell them I have no openings. By not making up the lesson(s), the student will either attend each lesson, knowing they’re paying for it, or cancel, and you can replace them with a more committed student. Either way, you’re better off! And by the way, even if you DID make-up every lesson for this kind of student, I guarantee they will not be long-term.
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.
Hey fellow piano teachers, what if there were piano method books that made your teaching job so easy, you feel you’re hardly working at all? That’s exactly what the “Drill & Excel On the Piano” book series does! Click any book to watch a movie where the author goes through each page with commentary. Most piano method books are songs with little information included. This means you have to explain in detail every new concept. And since piano method books don’t include every part of the lesson needed, you have to supplement books for teaching exercises, scales, theory, note naming, and rhythm games to improve their reading ability. Having multiple books also makes it challenging in the lesson for both you and the student.
Everything in one book
At Melody Music Publishers, the “Drill & Excel On the Piano” series has everything in one book. Each book is in 3 chapters and includes multiple note reading and interval worksheets, rhythm drills, exercises, and special exercises for specific skills, scales, and 20 original songs per chapter (totaling 60 songs per book)! Since the author, Kathi Kerr, writes the songs, a student has to read the notes and not rely on their ear to play. Most method books brag about having songs students are familiar with. However, if reading music fluently is the goal, a student can trick the piano teacher when playing a song if they rely on their ear instead of reading the notes.
Easy Steps to follow
Teaching from the “Drill & Excel On the Piano” series is nice because it lays out the information in an easy to follow step format. Without a book to guide the teacher and student, it’s easy to forget about important steps the student needs. However, with these books, the piano teacher can relax and know each critical step is included, taught straightforwardly with examples, drills, and exercises. The repetition given ensures the student fully understands each step before moving on to the next one.
Written Worksheets
Why are writing assignments so important? I believe writing the information is the first layer of understanding and retaining the information. When a student repeatedly writes the names of the notes or intervals, they’re more likely to retain the information. With the “Drill & Excel On the Piano” books, there are multiple worksheets to help students learn and remember notes. No acronyms are taught, like “Every Good Boy Does Fine.” Instead, the staff’s logic is shown, and five sets of notes are taught at a time with multiple worksheets per set of notes.
Rhythm Drills
Where’s the rhythm in most method books? Most piano method books may give the value of each kind of note, but nothing else. I have found rhythm is the most neglected part of piano method books and lessons. A student needs more than just shown each note’s value. To read rhythm fluently requires playing multiple rhythm drills. In “Drill & Excel On The PIano,” the note’s value is taught with multiple rhythm drills for the student to play. Playing them with a steady beat, and counting the beats out loud is recommended.
Exercises
As mentioned earlier, most piano instructors will use a separate book for exercises. However, many exercise books are not suitable for the beginning student when the pattern includes more than a five-note hand position. In “Drill & Excel On the Piano” books, the exercises correspond with the chapter’s songs and skills needed. For example, in chapter 1 of book 1, only five-note pattern exercises are given that go with the songs. As the hand position expands, the exercises do as well. There are also “special” exercises that go along with the skills needed for the songs. In book 1, chapter 3, an exercise to teach the skill of independence of hands is given. This helps when playing the songs with one hand louder than the other, and one playing staccato while another playing legato. A student first learns the skill in the exercise before applying it to a song.
Scales
Another supplemental book piano teachers often use is scales. In “Drill & Excel On the Piano,” each chapter has one key signature (except the recap chapters), and all the songs, exercises, and scales will be in that key. This makes everything they’re learning correspond to each other and creates a clear path for learning. Also, most scale books show the scale by notation. Playing scales by reading the notes may not help the student remember what sharps or flats are in each scale and key signature, or even understand them. In the “Drill & Excel On the Piano” series, the student plays scales by knowing what’s in each key signature. This helps the student have better retention and understanding of the scales, which is the foundation for learning music theory.
Intervals
Intervals are taught beginning in book 2, chapter 3. The emphasis in book 1 and book 2, chapters 1 and 2, are reading fluently and exercises to acquire the skill of playing. Chapter 3 of book 2 starts by showing the staff’s intervals in the key of C (C/D, C/E, C/F, C/G, etc.), with the interval number beneath. However, it doesn’t stop with merely explaining intervals. There are multiple worksheets for the student to identify the interval number without counting. Once a student can identify the interval at sight, this helps in sight-reading. Without repetitive written assignments, most students are not able to identify them at sight.
Songs, songs, and more songs!
And finally, the best part of “Drill & Excel On the Piano” are all the beautiful songs written by author Kathi Kerr. As mentioned earlier, the songs correspond with the chapter’s key signature. Written melodically, a student will find themselves singing the songs apart from playing them on the piano. Starting from book 2, each piece is in a different style with a commentary written by the composer. And best of all, they’re fun to play!
Each book recaps the previous books
Whatever the student’s level, he or she can start with any book in this series, since from book 2, the first chapter is a recap of the previous books—this way, no critical steps, and information are missing. For a beginning student ages 8-adult, book 1 is recommended. If a student has played a little piano, they can start with book 2 that begins chapter 1 with hands together. This book is also great for a self-taught student that plays well but may have missing information or someone taught incorrectly. Book 3 is excellent for the early intermediate student. And finally, book 4 is for the late intermediate student. There are more exercises, special exercises, rhythm drills, and lots of theory worksheets in books 3 and 4. “Drill & Excel On the Piano Book 5” is set to come out in late 2021 for the advanced student.
My first experience with this piano method book
When I had finished book 1, I used it on the students I was teaching at the time (I called them my guinea pigs). One of my students in particular had struggled in reading. However, when he started playing the multiple songs in each position, he was so accomplished at reading, he began sight-reading the songs nearly perfectly by the end of the chapter! I remember feeling so at ease and thinking “The book is doing all the work!” It was so much fun to see him go from struggling to sight-reading!
Order today and enjoy teaching
Order your copy of “Drill & Excel On the Piano” to relax and have a great time teaching your students, knowing they’re getting all the essential steps. Using drills and repetition, your students will have a deep understanding of all concepts and play the piano like a pro. It’s exciting to see the students’ progress and growth. If you’re a piano teacher who hasn’t registered, click here to sign up to receive discount codes for free shipping and 50% off your first copy, then free shipping and 20% off all recurring orders! Thank you for your passion and dedication to teaching private piano. We welcome your comments and suggestions to this post.
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. They offer piano and singing method books using small steps and repetition, how students think and learn.
I recently read a piano teacher’s blog that stated the intermediate student no longer needed a method book. His point was there was nothing “new” after level 3 in the method books. He continued, saying the intermediate student only required repertoire to play and practice. But are piano method books needed for the intermediate student? Before six months ago, I would have totally agreed! Most piano method books offer nothing new after level 3 except songs to play. However, after writing Drill & Excel On the Piano book 3 and Drill & Excel On the Piano Book 4, I now realize there’s actually MORE skills and concepts for the intermediate student to learn than the beginning student. Here are some of the things I’ve included in books 3 and 4 for the intermediate student.
#1 Intervals
While intervals are mentioned in most of the early level piano method books, they don’t explain the KINDS of intervals. In Drill & Excel book 3, there are interval worksheets for the student to identify the intervals in various key signatures. Then in book 4, ALTERED intervals are introduced, with worksheets for the student to identify the kind of interval (major, minor, diminished, or augmented). Giving the student writing assignments helps the student to learn in a deeper way, rather than simply reading the information.
#2 Rhythm
In teaching rhythm, most method books only show how many counts a note is held. However, in Drill & Excel On the Piano series, there are multiple rhythm drill pages for the student to play on one note and count out loud. This gives the student a lot of repetition in reading the rhythm to create fluency. And in books 3 and 4, the rhythm goes beyond most method books, including sixteenth notes, triplets, and triplets against other notes (even or other triplets). Learning to read rhythm is much like driving a car. It can’t be taught be explanation, but in DOING.
#3 Exercises
Exercises are not included in most method books, even in levels 1 and 2. Piano instructors that want their students to play exercises use a separate book for that. However, the Drill & Excel On the Piano series includes exercises in all 4 books. Books 3 and 4 are especially important, because they offer specific exercises for the skills introduced. For example, book 3 has a chromatic scale exercise, finger pedaling exercises, and repeated notes using different fingers. Not only are these skills added in the chapter’s songs, but is common among other pieces. Another exercise in book 3 is changing fingers on a held note. Book 4 has ascending and descending 3rds, 4ths, 5ths, 6th, and 7ths. It also includes the “independence of fingers”, playing a triad and emphasizing each note of the triad. These are important skills for the intermediate student to acquire when playing difficult pieces.
#4 Theory
For the intermediate student, theory is especially important. A beginning student has difficulty in just playing and reading to even think about theory, while the intermediate student can understand concepts. And knowing theory helps in the student’s reading skill. It can also help in songwriting and improvisation. The Drill & Excel On the Piano books 3 & 4 include a lot of theory beyond the altered intervals mentioned earlier. It includes triads, triad numbers, and transposing songs to other keys by using the triad numbers. These are important skills and knowledge for the intermediate student to acquire, which may not be understood by simply playing various pieces.
#5 Songs
Since the songs in the Drill & Excel On the Piano series are written specifically with the information and skills taught in each chapter, they’re especially valuable in the learning progress for the intermediate student. Instead of playing random pieces, the songs are strategically planned to teach what is taught. Each song increases slowly in difficulty , giving the student a challenge incrementally as he or she plays them.
To Summarize
So are piano method books needed for the intermediate student? In short, yes, because the intermediate student needs to learn certain skills that may not be taught by simply playing various repertoire. The Drill & Excel On the Piano books 3 and 4 are the perfect books for their continued learning to bring the student to the next level. Check out our books at MelodyMusicPublishers.com. Teachers receive free shipping and 20% off all orders. Click here to register.
Kathi Kerr is author and founder of Melody Music Publishers. She writes her book based on over 30 years’ teaching experience the way students think and learn.
I’m sure EVERY private music teacher has come across the student that continually cancels their scheduled lessons. And most of the time, at the last minute! For too long, music instructors have been disrespected, in my opinion. A lot of students have the idea that since music instructors love to each, it’s ok to cancel a lesson and not pay for it. Or the student will “expect” the instructor to go out of his or her way to make up the lesson. And for too long, teachers have caved and will politely say, “That’s ok, you don’t have to pay for the lesson.” Or “Sure, we can reschedule it”. But what message does that send to the student? And how does that effect the private music teacher?
The First Problem – The Effect on the Instructor
The first problem is the obvious one, how it effects the instructor’s time and income. What other job has the hours set, then taken away at the last minute without pay? Who would want an occupation that requires hundreds and hundreds of hours honing a skill, with a high cost of education, only to have that kind of instability? I would say, NO ONE! Yet this has been the practice for the private music teacher for decades. My first “paid” lesson I taught was from a music store when I was 17. I went there all excited to teach, then waited, and waited, with a no show from the student. I walked away with nothing except wasted time, deciding I would never teach another piano lesson! Yet here I am over 30 years later still teaching!
The Second Problem – The Effect on the Occupation of the Teacher
The second problem when music students cancel their scheduled lessons without accountability, is it disrespects the occupation of the private music teacher. Whatever the reason for cancelling, to expect not to bear any ramifications is disrespecting the instructor’s time and income. I understand respect needs to be earned, and by allowing this to happen, doesn’t teach respect for your time and income.
The Third Problem – The Effect on the Student
The third problem is how it hurts the student. You may think that by being accommodating is helpful, but it’s actually hurting the student. Why, I can hear you asking? Because by not holding the student accountable for every scheduled lesson, makes it easy for the student to cancel. And if it’s easy to cancel, the student probably will Attending every weekly lesson is very important to the student’s learning progress. What prevents the momentum in learning, is inconsistency. I’ve seen the trend over and over with students that cancel a lot of lessons, even when given make ups, will eventually quit all together. So you’re actually doing the student a favor by holding their feet to the fire, so to speak.
Problem With Most Policies
Just like any business, there needs to be rules and policies. I’ve heard a lot of policies over the years from studios and private teachers. Some will say a credit can be issued if cancelling before 48 hours. That’s fine, but it still leaves the instructor with a scheduled time without pay, even if the student gives a month’s notice! Others will give a make up for all missed lessons, or an “x” amount of make ups. The problem with that is you’re still not getting paid for that time block and using another block of time that could have been used for a paid lesson. Plus it doesn’t discourage cancellations. I’ve heard other studios’ policy that never give make ups. Well, that may be a little too harsh, since there are times when a little leniency should be given.
What’s the Solution?
So what is the solution? Over the last 30 years In my own teaching and instructors on my staff at Melody Music Studios, I’ve fine tuned my policies by trial and error. I’ve had a lot of students get mad and quit because of my policies. I’ve found those are the kind of students that only think of their side, and are usually not great students anyway. My policy is right off the top, no credit for student cancellations! The only time I would make an exception are for extreme emergency situations. My make up policy is “No guarantee for make up lessons. That is up to the instructor’s availability”. That way the student knows he or she may not receive a make up for every cancellation, and it doesn’t obligate the instructor to do so. For instructors that have plenty of time and want to make up the lesson, can. For instructors that have a full roster, there’s just no way of making it up. And blaming it on your busy schedule is perfect and tells the student your time is valuable.
Choosing to offer make ups depends also on the student. If you have a student that rarely cancels and gives you a lot of notice, it’s best to make up if possible. However, for the student that cancels often, it’s best not to make up, even if you have the time. You’re only perpetuating their bad behavior. If you do give a make up, I have found the easiest way is extending time in the following lessons, instead of rescheduling.
Summary
So the bottom line is we need to stand our ground with students and not be taken advantage of. You may feel alone, but there are thousands of private instructors, and we all stand behind you! There may be times to be lenient and understanding, but that should be the exception, not the rule. You’ll either lose the inconsistent student (and replace with a better one), or create a habit of consistent lessons, which is best for the student’s progress. Thank you for doing the greatest job on earth, teaching music!
New Line of Piano Method Books
Kathi Kerr founded Melody Music Studios in 1989. Then in 2017, she opened her own independent publishing company called Melody Music Publishers. Ms Kerr has written a unique line of piano method books that offer a comprehensive, easy to follow, format. Her books are written, not from an academia approach, but how students think and learn from her over 30 years’ teaching experience. Teachers can register to receive a 20% discount on all orders!
