Teaching the Individual, Part 3: Choosing Good Repertoire

This week we are discussing ways that we can maintain standards of excellence in our studios, while at the same time adapting our teaching styles to help each individual student succeed.


Choose appropriate repertoire that is fun for the student.

Let’s face it, any student, even the most motivated, will hate lessons if they hate their pieces. They won’t practice, they will dread coming to lessons, and they won’t progress. The trick is to pick pieces that are fun and enjoyable for them, challenging enough to boost their confidence and improve their skills, yet not so challenging that they get frustrated.
The best way to do this is to become familiar with a lot of repertoire yourself! Listen to lots of repertoire. Pick up a book and play through it, noting which pieces are fun, what types of techniques and musical concepts they teach, and what level of student they would be appropriate for. I often like to give a student a CD to listen to which includes a few possible pieces to learn. This way, you have some say over the pieces and can pick some that are at a good difficulty level for them, but the student gets the final say.
(Choosing repertoire is so important, and is partly why I started the Weekend Repertoire feature here on The Teaching Studio!)
How do you go about choosing good repertoire for your students?

Getting off of the bench…

I wanted to share something fun that has been really great for my young students (and my young son loves it too!). Sometimes (especially with young students who have the wiggles) sitting on the piano bench for an entire lesson is just out of the question. Young children need to move around, their minds and imaginations sometimes go at a mile a minute, and their attention spans can be so short at times.

So at times like this, I like to whip out my roll-up piano! This thing is so cool. Of course it does not have the same feel as a real piano, but it really does work. It is perfect for sitting on the floor and learning about the keyboard. You can use it to teach theory concepts, the layout of the piano keys, note names, chords, etc. Plus it is so darn cool that students will be so interested and get a real kick out of it. This thing is awesome, it is so portable and really works quite well. I definitely recommend it for young students, and think that anything to make lessons more fun and exciting will have an impact on the success of the students.

Teaching the Individual, Part 2: Goals of the Student

This week we are discussing ways that we can maintain standards of excellence in our studios, while at the same time adapting our teaching styles to help each individual student succeed.

Discuss with each new student their goals related to piano lessons.
As new students enter your studio, sit down with them and have a candid discussion about why they are taking lessons. If they are transfer students, ask if they enjoy it. Find out exactly what they are hoping to get out of lessons. Some students may be very talented and motivated, and wish to prepare to study piano in college. Maybe they just want to learn how to read music, or work on their performance anxiety. Some may want to be able to play well for their own enjoyment. Some might want to learn how to sight read. You won’t know until you ask
Sometimes students don’t know what they want to get out of music lessons. In this case, it is a great opportunity to talk with them and help them come up with some goals. Doing this puts a little more responsibility on the student, for when they have set their own goals they will have something specific to work toward that is for them.
I have my new students fill out an information sheet when they join my studio, and the most important line on that sheet says, “What do you hope to get out of piano lessons?” I think it is better to start out on the same page right from the beginning, than to deal with a lot of frustration along the way.

Teaching the Individual, Part 1: Teaching Philosophies

So, I want to be a good piano teacher.
I want my students to all be musically-literate, to sight-read fluently and play with a beautiful sound. I want them to have great technique and play with no mistakes, and wow audiences with their great performances. Who’s with me?
Don’t we all have certain ideals and standards that we have set for ourselves as teachers – standards for our music studios that we would love for each student to achieve? I have learned, which I am sure you have also learned because it becomes pretty apparent as you start teaching a lot, that not only do our students each have unique and individual strengths and weaknesses, but they also have their own goals related to piano and music. Believe it or not, not all of your students are striving to become piano performance majors in college (what??).
As music teachers, how do we maintain our standards of excellence that we have set for our studios while still adapting our teaching style to the individual student and allowing for each student to have their own set of goals? How do we join our expectations with our students’ expectations, and produce well-rounded students of all abilities, types and backgrounds? Over the next few days I want to discuss this important topic, and give a few specific ways I have found to accomplish this. Today we will focus on Teaching Philosophies.
Sit down and write out your teaching philosophy.
Your teaching philosophy is your vision for your studio, your goals and standards which you feel are most important to teach your students. This is a great exercise if you have never done it before, and really helps to focus your teaching and be more effective as a teacher.
What is most important to you as a teacher? What are some goals which can be achieved by students of all ages and levels? What standards would you like to set for your studio which will set you apart as a successful teacher? 
Whatever your philosophy is, make sure your students know what you are going for and know what you expect of them.
Make your teaching philosophy applicable to students of all levels.
My teaching philosophy is two-fold; it includes some specific goals for me as the teacher, and three specific goals for each of my students. My goals for each of my students are that they 
1) become musically-literate sight readers, 
2) that they learn how to play with expression and beauty, and 
3) that they become acquainted with the piano literature of the great composers. 
Of course, there will be more goals which you come up with that are specific to each student, but these are three goals which I feel confident that any student can learn, no matter their individual strengths and weaknesses. I also feel that if they can accomplish these three things, even if they don’t become professional musicians or go on to study music in college, they will at least gain a love and appreciation of music, and be able to play and enjoy music for the rest of their life.
What is your teaching philosophy? What goals do you have for your music studio?

Teaching the Individual

Something I have learned about teaching over the years is that, every time you get pretty comfortable teaching and feel like you have a pretty good grasp on the art, you all of a sudden get a new student who completely throws you for a loop.

What worked for your students in the past just does not work for this one! They learn at a different pace. They see things differently. They need things explained a completely different way. They have totally different goals.

And when you get the hang of teaching them, you get someone new who is completely unique and different from the last student!

And so it goes.

Anyone else notice this pattern? I actually enjoy it, because it keeps me on my toes. When I come up with new and exciting ways to teach different personality types and different ages, I get really excited. My confidence grows, my attitude changes and I really feel like I can influence my students for the better.

So how do we do this? How can we be flexible and adaptable in our teaching, yet still adhere to high standards in our studios? How can we help each student, no matter their background, personality type, and musical goals, have a positive experience with music lessons?

Preschool Poll & Resource List

I have loved discussing preschool music this week! Here are our poll results:

Have you ever taught preschool music of some sort?

Other answer: “Have tried; depends upon child and their day!”

I also thought it would be helpful to compile a list of websites with helpful resources and information pertaining to preschool music. Most of these things were mentioned this past week or so either in a post or a comment. What wonderful resources are out there for music teachers! Love it. Let me know if you have any great websites to add to the list!

http://www.musikgarten.org/
http://www.preschool-music.com/
http://www.kindermusik.com/
My First Piano Adventures books & CD’s
http://www.kelly-kirby.com/
Pianomouse Goes to Preschool software
http://www.musicmindgames.com/
http://www.myc.com/
http://www.pianodiscoveries.ca/

Weekend Repertoire: Good-Humored Variations

Easy Variations on Folk Themes, Op. 51: Schirmer's Library of Musical Classics, Vol. 2060I just discovered a great little set of theme and variations and had so much fun playing it that I had to share! I can’t wait to teach this one to a student.

Today’s piece: Seven Good-Humored Variations on a Ukrainian Folk-Song, Op. 51, No. 4 by Dmitri Kabalevsky
Level: Mid-Intermediate
Teaches: oh so many great things: theme and variations, staccato at a piano dynamic level, accents (including tenuto and sforzando), marcato, leggiero, alberti bass, arpeggios, left hand melody, syncopated/off-beat rhythm, cantabile
Preview the score: here
Buy the score: here
Listen: here, on YouTube

So I had to laugh at the title of this piece, but these variations definitely are good-humored and playful. This would be a wonderful piece for a student looking for something fun, a little bit showy (would be excellent for a recital), and challenging enough but totally doable. The theme itself is super simple. The thing that makes this piece so great for teaching is that it uses a great variety of articulations and musical markings – soft, staccato & leggiero; loud & marcato; smooth and flowing and cantabile; and basically everything in-between. The final variation and coda includes lots of octaves, accents, sforzandos and fortissimos.

My advice in learning this piece would be to:

  • Learn it one variation at a time, hands alone.
  • Figure out the basic chord progressions and write them in. Learn them well because the progressions in each variation are very similar. 
  • Learn the details right from the beginning – have fun with it! Make your dynamics very contrasting, play staccatos very short and crisp. Make the legato sections very smooth, connected and beautiful, to contrast the many staccato, marcato, and just plain loud sections. Figure out what the character of each variation should be, then work on listening to the sound of each variation and creating a unique sound and character for each.
  • Practice with a metronome – go for accuracy and control, especially on the fast sections. They will sound much more brilliant and energized when you can play each note clearly at a controlled tempo.
  • Again – have fun with it! Make it sound like a dance

Image credit

Teaching High and Low

I recently came up with a little game to teach the concept of high notes and low notes…it has been a success! Not only has it been great for teaching high vs. low on the keyboard, but has become a great tool for exploration and improvisation at the piano. I have used this with preschool-aged children (and even with my son who is not yet three). It would probably also be great for other beginners who are school-aged.

It is really very simple. You can play it at the piano or away from the piano (I have a little keyboard printed on the sheet to use if you are not at a piano). I put the sheet and a small envelope inside of a file folder for easy organization. Here’s a photo:

The child gets to reach in the envelope and pull out a little picture. It could be a picture of a fish, a star, a butterfly, a rocket, etc. We then talk about if the object is high or low – a fish would be LOW because it swims deep down in the ocean. An airplane would be HIGH because it flies high in the sky.
Then we play some notes to represent the picture! My son likes to put the picture on the left side of the piano if it is low, and on the right if it is high.
The fun of this game is the improvisation that naturally happens when you start to play what things “sound” like. For example, when a child pulls out a picture of raindrops, you can start up high (where the clouds are) and play short rain drop notes going all the way to the bottom of the piano! A rocket ship can start low, and then when it “blasts off” you can play a fast glissando all the way to the top! A swing goes up, then down, then up, then down. The possibilities are really endless.
I love this because it gets the child playing and exploring on the piano! My son and I love playing “train music.” One of us plays short, low “chugga chugga” notes and the other plays high, long “train whistle” notes.

What ways do you teach the concept of high and low notes to young beginners?

How to Teach Music to Young Children

People often ask me when they should start their child in piano lessons. My answer: as soon as possible! It is never too early to start exposing your child to the world of music. Now, I am not saying a 3-year-old should be in private lessons. No toddler or even preschooler should be expected to sit on a bench for 30 minutes, listen to explanations, memorize terms, and follow complex directions. Not if you want that child to actually enjoy music and come back again next week! Here are a few ideas for teaching these young beginners.

Strategies for Teaching Music to Young Children:

  • Teach in groups: Children learn best in a group environment where they can explore, learn from their peers, and feel completely at ease. This is not to say that some children won’t be shy and take some time to warm up to the group situation. Be patient with these students, and let parents know that they are learning by observing, and there should be no pressure for them to perform.
  • Involve parents in the class: Children learn by watching not only their peers, but their parents. If parents participate in class activities, their children will (this obviously doesn’t apply to older kids and teens, but works great with toddlers).
  • Include lots of movement: Not only do kids not sit still well, but they also need to feel the rhythm and the music in their bodies. They are hands-on learners, and need to be completely immersed in the music. March to the beat, tap your knees, do actions that match the words, and allow free movement with scarves or rhythm instruments.
  • Keep up the pace: Move quickly from one activity to the next, without pausing to look at your lesson plans too long, and without too much explanation.
  • Use repetition: All learning occurs through repetition. Don’t rush through activities so quickly that kids start to feel lost. They do have short attention spans, but that doesn’t mean they won’t enjoy singing their favorite song three times instead of once. Repeat activities in each class, and from week to week.
  • Layer concepts: Along with repetition, use the concept of layering. Rather than trying to teach a 2-year-old to play a C on day one, first teach him about black and white keys. Repeat this for a couple of weeks, and then introduce groups of 2 and 3 black keys. When the students are comfortable playing 2 black keys with right hand bunny-ear fingers, show them that C is right underneath their thumb. Use this kind of layering with any concept you are trying to teach.
  • Have a routine: Children thrive on routine. They like to know what to expect. The class will run much more smoothly—and the kids will be more able to learn—if the sequence of activities is mostly the same each week. For instance, always begin with a welcome song, then move to a rhythm activity, flashcards, movement to music, singing with actions, and keyboard time, etc. Keep this as consistent as possible from week to week, allowing it to evolve as you add more activities and concepts.
  • Use by-copy techniques: Chant rhythms and have the students chant them back while tapping sticks or drums. Sing solfege melodies and have the students sing them back.
  • Teach ear-before-eye: You can tell a 2-year-old that a quarter note gets one beat, and he won’t have a clue what you mean, but if you give him a drum and let him pound away to the music, eventually you can show him a quarter note and tell him that’s what he was playing.
  • Incorporate social skill development: Include activities in the class that require the children to take turns, share, and cooperate with each other. These social skills are new to most toddlers and preschoolers, and are just as valuable as the musical skills they are learning.
  • Play! Children learn best through play. They experience the world through all of their senses, and they are constantly learning. They will not respond well to lengthy explanations or drills. A play-centered environment allows them to learn without even realizing they are learning.

Activities and Materials to Include in a Preschool Music Class:

  • Rhythm instruments: bells, drums, tambourines, maracas, woodblocks, castanets, shakers
  • Keyboards: this requires a significant investment, but if you can even have a small keyboard for every child, you will be able to prep these kids for later piano training
  • Singing: Use solfege and words to get children singing.
  • Large-Motor Skills: marching, actions to songs, tapping on various body parts, rolling a ball, holding hands and moving in a circle, dancing with scarves
  • Small Motor Skills: finger plays, songs with finger actions (like Itsy Bitsy Spider), keyboard activities
  • Listening Activities: read stories, listen for different instruments in a recording, listen for more abstract sounds (does this part sound like a lion roaring? or a fish swimming in the ocean?)
  • Other Materials: balls, hoops, scarves, big colored flashcards, etc.

Obviously I could go on and on, but short of writing your curriculum for you, I hope this gives you some good ideas and place to get started!

Early Childhood Music Education

guest post by Stephanie Talbot

During my my senior year of my bachelors degree I took two music education courses from Susan Kenney at Brigham Young University. My eyes were opened to a whole new perspective of music education. I volunteered with the BYU Young Musicians Academy for three years. I loved teaching young children music. It is so exciting to see their faces light up when they sing songs together, play games, move to music, and play instruments for the first time.

During the summers while at BYU, I took Musikgarten courses for Babies, Toddlers, Cycles, Musik Makers, and Musik Makers at the Keyboard. I also took Level 1 certification courses in Orff Schurwerk and Kodaly. All of these music education approaches have the same vision and build upon each other.

Children are always listening, learning, and trying to comprehend the world around them. Music education begins in infancy, and there is ample evidence that it begins before birth. The first three years of life are the most important for educating young children. At this time, brain cells are making connections most rapidly. These connections are what give the brain its capacity to grow and learn. What happens in the home has significant impact on the children’s musical performance when they reach Kindergarten. Children’s experiences during the first years of life lay the foundation for learning that will take place when they enter school. Their feelings of importance and security are determined by your approval of them. The music you listen to, the instruments you play, the singing you do, will all influence the child’s future musical tastes and preferences for music making. Research indicates that by age four, 50 percent of the intellectual learning a child will have at age seventeen has already occurred. (Boloom)


Early childhood classes:

I have taught a few early childhood classes each year. The tricky thing is finding a place to do it that is big enough to house the children and their parents. I have co-leased a dance studio before which worked out great. The home is an option–but having enough space for the children/parents to move is essential. If it is cramped then the purpose of the activities becomes less effective. A babies class works great in a home since movement is limited to lifting, tickling, etc.

What can you do as a parent?



1. Create a musical environment. 

Piaget, a music education theorist, said that environment is critical for learning to take place, and a music environment is as important as all other environments. Children will be able to construct their own musical meaning form the musical experiences they have. The role of the teacher and parent is to provide musical environments from which children can construct their own meaning. EXPERIENCE precedes understanding. EXPERIENCE precedes symbols! Include musical toys, tape recorder, songbooks, picture books about music, good recordings. Different kinds of experiences allow children to explore, make choices, and build their own curiosity.

2. Participate in music activities.

Go to a musical play, the symphony, recitals. Sing with your children at family activities.

3. Observe and listen all kinds of sounds!

Sounds of animals, birds, water, rain, etc. (inside, outside, sounds around the home, instruments). Listen to a variety of musical selections (classical, pop, rock, jazz, choral, orchestral, singing from other cultures). Consider checking out a different CD each week from the library and make a special time to listen such as in the car, while you are making dinner, putting them to sleep.

4. Label the different sounds while listening as high sounds, low sounds, fast, slow, violin, piano, trumpet, etc.

3. Participate with your children in musical activities.

Use CD’s and rhythm sticks. If you play an instrument—play it often. If music is valued to you, then it will more likely be valued to them. Your daily modeling creates a model for your children.


Something to do at home:

1. Find 6 matching non-glass containers (Easter eggs, pill bottles, plastic cups taped together)
2. Partially fill 2 containers with salt, 2 with beans, and 2 with pennies (or other materials)
3. Close and secure
4. Place the containers in your child’s environment and encourage a child to shake the containers. (sing a song while they shake, label them as loud or soft, have them try to match the containers to ones with similar sounds. Encourage the child to shake one sound while you find another just like it.)
5. Enjoy! Play is the child’s work!

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