Group Teaching: Studio Set Up & Billing

Part 2 of the Group Teaching series written by guest contributor Marissa Erekson
Studio Set Up
I had learned about group piano lessons from workshops I had attended while in school. I had heard lectures detailing how the purchase of the digital pianos was a big expense upfront, but would then be made up for with the additional income. So, when I moved to set up my studio I purchased a grand piano and four digital pianos. It was a huge purchase, but with the additional students, I had the pianos all paid off seven months later (the bulk of that expense was for the grand piano, otherwise it would have been paid off much sooner).

I had the four pianos in a rectangle: two pianos side by side with the students facing in to each other. Then I could walk around the four pianos to help and correct them as needed. The students also were able to work well with counting, etc as they were looking at each other.

I had a large open area for the kids to sit on the floor for the games.

Billing

Students were charged the same rate for the 50-minute group class as more advanced students were billed for a 30-minute private lesson. If you charge less than this, then you have simply created an organized babysitting service. Also, if you charge less, then you are setting yourself up saying that group lessons aren’t as valuable as private lessons. I had an incredible amount of success with the group lessons, both in the development of the students’ skills and in the number of years that students remained in lessons. I never had a parent complain about tuition prices due to the time factor. You will need to find out what the general tuition rate for a 30-minute lesson in your area.

Books were included in the tuition for group class students. I created a “music book account” for private students and then deducted the amount of any music I purchased for them. I purchased the music online through various different websites where I received a discount and watched for sales for even higher discounts.

All students also paid a registration fee at the beginning of the semester for recital fees, etc.

Another note for billing – I strongly recommend using a billing service. I had a lot of students, but even if I only had 5-10 (like now) I would still use a billing service. I used MuBuS (Music Business Solutions) and was very happy with their service (very low user fees and very good service). I know of other teachers who said that they didn’t think it was necessary to hire somebody else to do what they could do for free. But then when I asked how much time they spent on billing issues I was appalled by the length of time spent sending email reminders and the number of times they had to bill late fees. I wanted lesson time to be spent strictly on teaching and all of the out-of-lesson work time to be spent on lesson planning – not on billing. It took minimal time to set each student/family up with a music account the beginning of their study time with me. Then if their credit card expired MuBuS would contact parents for the updated info. I only dealt with financial matters the beginning of the year when I set up new students and programmed the new rates.

I can’t even remember how many parents told me how much they loved that I used an automatic billing service and how many of them had even recommend MuBuS to the teachers who taught their other kids other musical instruments.

Why Group Lessons?

Part 1 of the Group Teaching series written by guest contributor Marissa Erekson

I moved to Virginia where most parents had never heard of group piano lessons before. In the beginning I spent a lot of time speaking with parents about all of the benefits of group piano lessons, but soon the benefits were apparent and were spread by word of mouth by happy parents. Initially I gave several reasons of why kids would benefit from a group setting including:

• Ensemble opportunities each week
• Performance opportunities each week
• A comfortable setting where they could practice rhythm games and counting (most parents who had studied piano as a kid remembered that they did not enjoy counting)
• A setting where they could play theory games that weren’t possible in a private setting (continuing to emphasize a child’s love of games and how so many more games are possible in the group setting)
• Longer lesson time each week
• Opportunities to learn to critique music in a comfortable setting
• All other activities are linked with a child’s innate love of making friends and being social (sports, etc) in which most kids would create memories and continue longer term.
• A cooperative learning environment.

In the end, one of the greatest reasons for group lessons related to the parents’ competitiveness. In a private lesson setting where parents see their child compared to other students only at the recitals, they would make excuses if their child wasn’t as good as others. But every single week parents would see their child compared to others who began lessons at the same time and would realize that every child could succeed in music. Parents began to see that all children could be successful in music if they put in the practice time (same as with academics). This promoted great parental assistance with the practicing and student adherence to practice schedules. Students were also very excited about lessons because they created “musical friendships,” many of which I learned expanded outside of lessons.

Most parents had never heard of group piano lessons, and if they had it was always cast in light of being second best and for students who weren’t as talented. (I only ever had one student who was “too talented” to be in group lessons. But that was because she began practicing 1 hour a day or more her first year of lessons. Most 6 year olds don’t practice 1-2 hours a day.) In the beginning I had to explain a lot about how great it was for students to be able to work in a cooperative atmosphere where they could work together to develop their skills. Once lessons began, parents did all of the advertising and I seldom had to explain to a new
parent the benefits of a group setting.

Guest Contributor: Marissa Erekson

We have an awesome guest contributor with us this week who is going to be discussing group teaching. We are so excited to welcome Marissa Erekson, a wonderful pianist and piano teacher with a lot of experience in teaching group lessons. Let’s get to know her a little!

name:
Marissa Erekson

she is from:
Bel Air, MD

she is:
a scheduler who is always looking for new adventures

she attended:
BYU: BM 2003 (studied with Jeff Shumway)
MM 2006 (studied with Scott Holden)

currently:
Pursuing a 2nd BSN in Nursing at Georgetown U

her studio:
Worked full time teaching group and private lessons to many hard working and fun loving
children and adults in group and private lessons! She began teaching in 1995, but has
temporarily cut back with teaching to pursue her nursing studies.

she loves:
Traveling, learning how to bake (especially if it involves chocolate), good movies, and a hard
workout!

Piano Teaching Q&A: Maternity Leave

I am due with my 3rd child in about a month and currently have 8 piano students ages 7-11. They are all in the Primer Bastien book, except 2, who are in level 1. As important as my piano students and their success is to me, my family comes first, so I have been thinking of taking a break for about a month to adjust to the new baby. I’m due January 26th, so I was going to just teach through January until the baby comes and then start up again in March. I would love to get your input and advice on how to make this break time not hinder the progress of my students and what kinds of things to give my students to work on while I’m out. I welcome any suggestions and thank you in advance for your help.
Sincerely,
Haley Castillo

Hi, I just had my second baby a few months ago, so this is fresh on my mind. I’m exhausted! Good luck with your third! I hope I can answer this in a way that will apply to other teachers as well. There are a couple of different ways to handle a maternity leave. One is to find a substitute teacher to teach your students while you are gone, and the other is to just give your students a break for a while.

Substitute

If at all possible, I recommend finding a substitute teacher to take your students while you are recovering and adjusting to life with a new baby. Brainstorm possibilities for someone who might be able to do this: do you have a younger sibling who would like to learn to teach? Do you have any nearby relatives or friends with teaching experience or a good piano background? What about piano teachers in your neighborhood? Maybe an older person who used to teach and might enjoy a short-term return to the trade? Consider that someone who is less experienced than you will appreciate the opportunity and training, but may not push your students as hard as you would. On the other hand, someone with more experience than you should be able to keep your students challenged, but might be more expensive, and honestly, you could lose some students who may decide to transfer to the substitute’s studio permanently. There are bound to be drawbacks with anyone you choose, but it will usually still be better than losing the momentum by giving your students a month or two off of lessons entirely.

Once you have a list of a few possibilities, contact each one of them to gauge their interest and availability. Let them know how many weeks you are planning to take off, what your current teaching schedule is, and what tuition your students are currently paying. Ideally, it would be great to find someone who can maintain the same schedule and tuition your students are used to, but minor adjustments may have to be made.

Once you have arranged with someone to be your substitute, contact each of your students to let them know what you have set up. Tell them when and where their lessons will be, who they should make payment to (if you already have a good payment system in place, it might work best for them to continue to pay you, and you can just write one check to the substitute), and any other details you have worked out with the substitute. The smoother you can make this transition for your students, the less likely you are to lose any of them in the process.

Write some notes about each student for the substitute teacher. Let them know how long the student has been playing, what pieces they are working on, what skills they need to focus on, what your practice expectations are, what your reward systems are, etc. If your students will be ready to start any new literature during your absence, select that literature ahead of time and let the substitute know when to assign it. The more info you can give the substitute about your students and your systems, the smoother the transition will be for everyone involved. But keep in mind that every teacher does things differently, and the substitute will probably do some things with your students that you wouldn’t have done. And that’s okay; you might even learn something!


No substitute

If you can’t find anyone that you feel good about teaching your students while you are gone, then it can work to give your students a break for a while. You run the risk of losing some who might decide not to come back once they get out of the habit of lessons, and you will absolutely have to do a little backtracking to re-teach lost skills, but there are a few things you can do to minimize the negative impact of this time off.

  • Let parents know exactly when lessons will start up again. If you give them a date to put on their calendars, they are more likely to view this as a break instead of a stopping point with an optional restart.
  • Give students weekly assignments to complete while you are gone. Maybe they can pass off a song to a parent each week, master a new technique exercise, or complete a theory game or coloring page during their regular lesson time.
  • Don’t treat your time off like a break for the students. If they get out of the habit of practicing while you are on leave, they might not get back in. It’s likely they won’t practice as well as usual, but expect them to, and they might. Especially if they have weekly goals they know they need to complete.
  • It might help to make a calendar showing the weeks you will be gone, and to write assignments and goals directly on the calendar. Maybe younger students would enjoy crossing off the days on the calendar, or putting a sticker on each day that they practice.
  • Enlist the parents’ help in keeping the practicing consistent and in meeting weekly goals.
  • See if you can think of a fun and different assignment for the students to do while you are gone—maybe have them write a composition, do a research project about a composer, or write a story about two music notes named Fred and Harry (yeah…I’m sure you can come up with something better than that…)
  • Depending on what you think you are up for, you might consider making a phone call to each family once or twice during your time off, just to check in and see how practicing and other assignments are going. This can help parents and students recommit if they have slacked a bit.
  • Send a birth announcement to each family so they will be thinking about you! (I’m mostly kidding about this one…who has time to send birth announcements after their 3rd child?)

I hope this helps a little. Obviously there are lots of details that could be handled differently, and you will need to think carefully about each of your students and what will be best for them. I hope other teachers will add their ideas in the comments!

If you have a question you’d like to ask us, submit it here!

Advertising for New Students

I just had to get that Merry Christmas post off of the top of the blog – onto a new year! 🙂 I hope you all had a wonderful Christmas break and are on to great new semesters of piano study. We have a lot of great things coming up on The Teaching Studio. For now, I thought it would be a great time to re-visit the topic of Finding New Students.

I have made many-a-flyer in my years of teaching piano lessons. I decided it was time for a new, more professional-looking one. I wanted one that I could email out to people (I have had people give my name to people who are interested in lessons, and wanted something professional-looking that could be forwarded on to others). I used Microsoft Publisher to make this one and I love how it turned out! I have never used this program before, but I loved all of the professional-looking templates you can choose from and customize to your heart’s content. What do you think?

Now, tell me – what kind of information do you like to put on your flyers? If you use flyers to advertise, how do you make them? Where/how do you like to distribute them?

Happy Monday!

Merry Christmas from The Teaching Studio!

We hope you have a very Merry Christmas! Please pardon the lack of posts lately due to the holidays. We look forward to lots of fun and exciting things coming up soon, including a great guest contributor and a fun giveaway! Stay tuned!

We hope you enjoy this video of Janina and I performing Waltz of the Flowers from Tchaikovsky’s Nutcracker Suite, arranged for one piano/four hands by Eduard Langer. We dusted off this piece that we had previously learned and performed it a few years ago at a duet recital given by our students.

Merry Christmas!

Must-Have Christmas Piano Music!

I hope you all had a fabulous Thanksgiving, and that you are all getting out your Christmas piano music to celebrate the season! (I got mine out long ago…..)

I thought I’d share some of my favorite Christmas piano music! These are wonderful for intermediate to more advanced students, or to enjoy yourself! Here is my list of Must-Have Christmas Piano Music! Enjoy!

Christmas Fantasy – a medley of traditional Christmas carols by John W. Schaum

This is a great little early advanced Christmas medley that I learned as a teenager. Included in the medley are “Come All Ye Shepherds” (briefly in the beginning and the end), “Silent Night,” and “Joy to the World.” Wonderful if you’re looking for a challenging Christmas piece with a more classical feel.

Cantique de Noel, O Holy Night! , Freely transcribed for piano. (27414-5)O Holy Night – transcribed for piano solo by Rob Roy Peery

This is a great piano arrangement of this beautiful Christmas carol! If you’re looking for a more advanced, traditional Christmas piece to assign to a student, this is a great choice. The melody begins in the middle (shared by both hands), moves to the left hand and then to the right. It includes lots of virtuosic passages and big chords. Very fun!

Tchaikovsky’s Nutcracker Suite Op. 71a for One Piano, Four Hands, arranged by Eduard Langer

Ok, this is one of my absolute FAVORITES to play during the Christmas season. If you have never played these you need to buy this book right now. And find a buddy to learn them with. Now these babies are pretty advanced, so they require some practice 🙂 but are well worth it. Janina and I performed a big portion of this set as a duet recital in college and it was SO much fun. Get this book. Now! 🙂

Sleigh Ride, Duet for One PianoSleigh Ride – Duet for One Piano by Leroy Anderson, arranged by Michael Edwards

This is another must-have! This early-advanced duet is a definite favorite of mine….so much fun to play, so much fun to listen to. GREAT for Christmas recitals 🙂

Duet Fantasy on Jingle Bells - Piano - Late IntermediateDuet Fantasy on Jingle Bells by Robert Vandall

My sister and I love to play this as fast as humanly possible. This is a great Christmas duet that is tons of fun. Also check out Robert Vandall’s other fun Christmas duets!

The Songs of ChristmasThe Songs of Christmas – Liz Story

This is one of my absolute very favorite collections of Christmas arrangements for solo piano. These arrangements are a bit new-agey, a bit jazzy, very original and so beautiful. I love love LOVE these! Unfortunately, it seems to be out of print or something, because to buy a copy on Amazon.com you have to pay an arm and a leg. (Seriously though, if you ever come across this book, get it! You will love it all.) However, you can buy most of the individual pieces at musicnotes.com! My favorites include: Have Yourself a Merry Little Christmas, (jazzy and soulful, love it!) Angels We Have Heard On High, (very original arrangement, very introspective and gorgeous) O Come Little Children/We’ll Dress the House, and Bring a Torch Jeanette Isabella/When Blossoms Flowered ‘Mid the Snows (both beautiful medleys! so much fun!).

Mannheim Steamroller - Christmas (2 pianos/4 hands)Mannheim Steamroller Christmas – 2 pianos/4 hands

This is SUCH a fun book! We grew up listening to Mannheim Steamroller Christmas music in our house, and my sisters and I LOVE playing these 2-piano duets! I’d say they are upper intermediate level. If you have two pianos (and two pianists!) this book is a must-have for the Christmas season. These would be awesome for fun Christmas recitals.

What is YOUR favorite Christmas piano music?


We have a winner!

Thanks to all who participated in our giveaway this past week! Our winner is….

Heidi, from Heidi’s Piano Studio!

Congratulations! Heidi, please contact us and give us your mailing address so we can send you your free copy of “Red!”

Mr.Perl has been kind enough to offer our readers an exclusive offer on his books! As a token of his appreciation for your kindness and enthusiasm, he is offering 50% off on any combination of 2 or 3 books. This offer is good for one week only, and will end on Monday, November 29th.

To take advantage of this special offer, visit www.sheerpiano.com, click on the “Sign In’ button on the bottom left corner, and enter in the password: 50off

Thank you, Mr. Perl, for the wonderful offer!

black hole of piano: survey results!

So, can I just say that I loved all of your input on our survey this week?? We had 42 people take our survey, which is awesome, and the results are very interesting!

A few things I find interesting:

  • Over half of the survey-takers were not taught any of these functional keyboard skills regularly as a piano student. 
  • About one third of all survey-takers feel fluent in NONE of these skills. 
  • Although only one third of survey-takers were not taught harmonization/chord-playing as a piano student, about 85% of them are teaching these skills to their own students – way to go!
And here are the results!

And I loved all your comments. You bring up some great points, and it’s great to talk about this important issue in our teaching. Here are the comments that were shared during the survey…and I may just add in a few comments of my own in red!

All of my students are early beginners (between 1-2 years of playing), so I can’t teach that yet. {oh but I think we can! Even very young students can improvise on the piano, transpose a SUPER simple melody from C position to G position, or make up their own song.} But I’m working on scales and triads with them, so I can eventually get to the point of doing chords and such! {that is wonderful! way to give them a solid theory background :)}

I can totally empathize with and was a victim of the “black hole”. {uh-huh, so was I!} As a result, even after being a music major in college, I’m working on some of these aspects still today. This is why I’m insisting my piano students learn how to do these things to be a fully rounded musician.

Ah! This is a huge weakness for me, both doing it myself and teaching it. I’d love some suggestions. Books that have helped learn/teach these skill anyone? {good question…any thoughts, readers?}

Great food for thought! I need to get better at teaching these skills. {so do I!}

The skills I use most as a church musician and jazz band member are improv and lead sheets. I want my students as professional musican or hobby players to enjoy music after they leave me so I felt it invaluable to teach how to read a chord chart and how to play well with others in a band . My husband is a guitar teacher and we put our students together and create small rock bands {how fun is that?!} . This has been a great sucess . Not only do they have fun working on THEIR music , they are constantly using all the scales and chords we were trying to teach them in technique.

I appreciate Celebrate Piano course for these reasons!!! They teach most of these skills from week one and two!!! {I LOVE that series, and that is so true!}

I taught myself how to play chording and lead-sheet music when I had to out of necessity with my church’s praise and worship team. Since then, I have taught many students to play chording so they could play “worship” music also. However, I have recently been wanting to learn composing and teach my students. But I am at a loss at how to learn and teach on this subject. {I don’t have much experience in this either – but I do think that kids can be so creative, you may be surprised at what they come up with in a simple composition assignment!} Also, in all my years accompanying, I still find it difficult to play from multiple clefs. I agree that improvising, chording, composition, transposition, and part-playing are all invaluable tools to the modern-day pianist and as a teacher, I want to include these skills in my teaching. Thank you for your thoughts on this!

Thank you for bringing up this topic. I have been teaching for 2 years now, so I have all beginner students. This topic has brought to light a lot of areas that I need to include in my studio teaching. Thank you. {you’re welcome!}

It’s hard to fit everything into a 30-minute lesson but I do manage to get most of it in about once a month. {that is great – and yes it is SO hard to fit in all that they need} I don’t do the multiple lines playing because I think that is a more advance reading than my elementary students can handle.

I am Teaching the Music for Young Children program because It is a comprehensive program that teaches children some of everything they need to know to be a well rounded musician. We teach these skills as a part of their normal lessons. The children graduate with a grade one certificate, but their knowledge goes much deeper than that of most private taught grade one students. I know that my students have been given a great foundation for whatever musical path they choose to follow later in life. {how wonderful! sounds like a great program}

I wish there were a way to expand the 30 or 45 or 60 minute lesson to include these functional skills. Unfortunately, there are so many demands on that precious time when you have recitals, contests, and festivals at regular intervals through the year. {so true!} Our teachers association has a regular yearly event (Music Evaluation Day) that tests students in a number of areas, including repertoire, technique (scales, cadences, chords, arpeggios, and harmonization), theory, and sight reading. I encourage all my students to participate in this or in Piano Guild auditions. If they opt for Piano Guild, I insist that they work through Musicianship Phases, whether they actually do them at Guild auditions or not.

I had to develop my skills later in life after becoming the piano player for my church. There is still so much I could learn! Because I know what I’m missing, I am trying to encourage these things in my students as early as possible. {I feel the same way – because now I know what I missed out on in some aspects of my early piano lessons, I want to make sure my students get a good, well-rounded foundation}

I need to do much better at this! 🙂 {and….this was totally my comment! I am in the same boat with so many of you – so let’s all try and do better together!}

And people – only TWO more days left to enter our giveaway! Come on over!

Playing what’s NOT on the page

While thinking about this “black hole” of piano study phenomenon this week, I have become more and more convinced of the importance of teaching our students to create their own music, to play what’s not on the page, to be able to harmonize or transpose a melody, to truly be keyboard and music literate (which I believe includes these important skills!). I love this comment we received from Mike, and think that he put it so well:

I’ve always been baffled by this scenario. I believe that creating music is and should be an intrinsic part of playing any instrument. It was not always this way. Bach, Chopin etc all improvised. I think composing, and writing out what you create, should be a central part of musicking with students of all ages at all levels.

I think that there is no better time to start than now! Start now teaching your young beginning students to play what’s not on the page. If you have older students who have never learned these skills before, start now! It may take a little encouragement and time to help them feel comfortable using these skills. They may have to step outside their comfort zone a bit (I know that I needed to!). But these skills will truly help them be a well-rounded musician.

There are so many simple, basic things you can do to help teach your students these functional keyboard skills. Here are some ideas:

Start young. If children are encouraged to experiment on the piano, make up their own pieces, and improvise at a young age, they will be more comfortable and fluent at it as older musicians. I have encouraged my two-year-old son to experiment at the piano, and he loves making up his own songs!

Encourage creativity. Help students feel comfortable making up songs and composing. Praise their efforts, help build their confidence. When students are not encouraged to be creative at the piano, they may continue on in their music study not knowing how to be creative at the piano or being afraid to try.

Improvisation games. Encourage expression at the piano by playing improvisation games. Play what a bird sounds like, or a rainstorm or the ocean.I think that if I had done more of this as a youngster I would be more comfortable improvising today.

Simple transposing. Young students can learn to transpose very simple pieces from one 5-finger position to another, such as from C to G. Once they are comfortable doing this and can do it with ease and minimal effort, move onto more challenging pieces or new keys.

Question-answer phrases. Have students complete a musical phrase by composing an “answer.” This is a simple exercise to get them writing down notes, listening to how music resolves, and possibly to start composing a bit!

Simple harmonization. Young students can learn to improvise an accompaniment to a simple melody when simple chords and chord symbols are learned. Start very basic. Then teach them how to turn block chords into broken chords or an Alberti bass pattern.

Encourage composition. I love how Amy Hansen assigned her students to write a spooky piece for Halloween. Children have great imaginations, why not harness this creativity and help them create their own music?

In what ways do you teach functional piano skills to your students? Please share!

**Don’t forget that you can still enter our giveaway until Monday night!**
1 22 23 24 25 26 40
Verified by ExactMetrics