Piano Friends

Today a fun group of my piano friends got together for lunch. We caught up, we talked about life, about teaching, and about juggling teaching and family. It was so wonderful to spend some time with these girls with whom I have piano teaching in common, and to bounce ideas off of each other. I miss seeing them on a regular basis on campus and in the practice rooms (it seems oh-so-long ago!), and after chatting with them I feel inspired to be a better teacher.

That is what I love about this blog and what I hope it will become – a place where we can all talk about teaching, where we can give each other ideas and encouragement, and where we can have a whole network of other teachers and piano friends to bounce ideas off of – because we all need some inspiration and support every once in awhile, right?

So thank you for reading, and thank you for all the wonderful comments! I am looking forward to more ideas about teaching a first lesson this week, as well as to our first giveaway! Stay tuned!

teaching how to teach

Some of you will remember my post about one of my dear piano teachers, in which I mentioned that she emphatically stated at our first meeting, “I teach teachers.” I love that.

It is because of her dedication and love for teaching that I became a teacher. And it was also because of her help and constant encouragement. She actually found my very first student for me (her next-door neighbor). She encouraged me and gave me advice. But one of the most helpful things that she did was this: one week, instead of my regular lesson, she taught me a lesson on how to teach a first lesson.

Looking back on this, I think this was one of the best things she could have done for me. Teaching a first lesson can be nerve-wracking, especially if and when you don’t have a clue what you are doing. It was so helpful to have her sit down with me and go over exactly what you should do on a first lesson.

I have had the privilege of teaching one of my own students a lesson on how to teach a first lesson. By this time I had quite a bit of experience to draw from, including pedagogy classes in college, but I still used quite a bit of the same material that my teacher taught me that day. It was actually a really cool feeling to encourage one of my own students to teach, just as my teacher had encouraged me. I would highly recommend encouraging some of your students to teach by teaching them how to teach a first lesson – after all, sometimes we just need a little push in the right direction!

What or who encouraged you to begin teaching? Did you have any help in learning what to do at the first lesson?

Don’t forget to take this week’s poll – and you can actually vote for more than one answer this week!

Piano Teaching Q&A: Curve Those Fingers!

Each week we will be featuring questions asked by our readers, and will do our best to answer them and to give some ideas 🙂 We have had some wonderful questions that will be addressed in the next few weeks’ topics. So, this week instead of answering a question, I’d actually like to submit a question to all of you
Here is my question: How do you reinforce the concept of playing with nice, curved fingers and help your young students to actually make it a habit? I have a seven-year-old boy that I teach who constantly forgets, and plays with flat fingers and collapsed knuckles. When I remind him, he fixes it immediately and plays with a great hand position. But after a few minutes he forgets and goes flat again!
yes those are the lovely curved fingers of Janina & yours truly.
So anyway, I’m afraid I sound like a broken record to this kid because I keep on reminding him over and over to “curve those fingers!” Any brilliant ideas to help reinforce this concept in a fun way?

oh and p.s. In case you have wondered, Janina has been SUPER busy as of late with her masters, moving her little family out of state, buying a home, etc. – so that is why she has taken a little “hiatus” – but don’t you worry! She will be back! Let’s send her some happy *you can do it* vibes her way!!!

If you have a question you’d like to ask us, leave it in a comment or submit it here.

my studio space.

I teach in my home. As a mom, that is something that is so important to me. I love having this wonderful job that I can do without leaving my home. Having said that, I do think it is also important to make sure that your studio space is an environment that is free from distractions and conducive to learning and teaching. (We will definitely be spending a LOT more time on the topic of Balancing Teaching & Family – because I know a LOT of you teachers are also moms. This is a topic that I ALWAYS am thinking about and trying to balance!)

Right now I teach in my living room. It works just fine. I make sure it is nice and clean and free from distractions, and I have my music library and supplies nearby and it is great.

However, I would LOVE (in the distant future when circumstances and finances permit, mind you) to have a studio that is in my home that is separate from our living area. Like with a separate entrance. And a nice copy machine and computer completely for the studio, and a NICE piano or two, and nice decor and a really nice music library and a great listening library and stereo system, and…and…and….the list goes on and on, doesn’t it? It would be so fun to have a whole space just devoted to music and teaching.

So, tell us about YOUR studio space – where is it, why is it there, how do you make it a good learning environment, what your DREAM studio would be – let’s hear some comments!

p.s. take our poll about your studio space 🙂

organizing your music library

Recently I really needed a new way to organize my music library.

I used to have them all lined up on a bookshelf. That worked alright for awhile – like until someone grabbed a few books to play from. Then they all would start leaning and falling over. Plus it never really looked very nice anyway, with the mixture of spiral bound books and sheet music and old books with falling-apart spines. And I would initially try to organize them by composer, but they would inevitably get all out of order.

So next I found a large, cute basket at Walmart, and had it in my living room next to the piano. My music books fit perfectly and it was easy to grab a book and put it back in the right place without them getting all disorganized. But I quickly outgrew that! And inevitably the organization still went right out the window.

Here is my most recent way of organization, and I quite like it!

First I bought a nice shelf to use. Then I went to Ikea and bought a whole bunch of their cardboard magazine holders (they are really inexpensive, and look nice!). I organized all my music by composer and labeled each magazine holder and put them on the shelf. It looks nice, plus it’s easy to pull out the needed music and keep them all in order.

The only problem is that my two-year-old loves to pull the little labels out and bring them to me (luckily I found all but one for this photo!)

How do YOU keep your music or teaching materials organized? Any fun ideas to share?

Check out some more studio organization ideas in our “Helpful Resources” section.

something fun for your waiting area

A piano studio should be warm and inviting, and conducive to teaching and to learning the joys of music. One fun idea I have had (which I will implement once I have the $$ to purchase these books….until then library books will have to do, since I usually have quite a large stack on hand) is to have a little area in the “waiting area” of your studio (which, in my studio, is my living room couch/coffee table) filled with fun music-related books for students or siblings/parents of students to read. There are some really amazing picture books out there all about music. Sometimes a wonderful book can convey the JOY of something, such as music, better than anything. I think these would be a wonderful asset to any piano studio. Here are some of my recommendations (these and other books can also be found in our store):

A Winter Concert by Yuko Takao

Janina and I actually found this wonderful book one day at the BYU Bookstore on a clearance rack, and each bought a copy (how could we not??). It is about a little mouse who goes to a concert on a snowy evening. The drawings are all in black and white, until the pianist comes out on stage and begins to play – and then beautiful colors start coming out of the grand piano and pave the little mouse’s pathway home. It really is quite touching. I actually blogged about this book on my personal blog the other day, because my 2-year-old son just loves it. I noticed that you can get this book on amazon.com for a buck forty-five – not a bad deal if you ask me! (Click on the link above to see it.)

The Composer Is Dead (Book & CD)The Composer Is Dead (Book & CD) by Lemony Snicket

Oh wow, this book is AWESOME. If you are a musician/music teacher and have not read this book, go find it now and read it. Or pop in the accompanying CD and follow along. You know when someone writes music, it’s called “composing?” Well in this book you’ll learn that when the composer is dead, it’s called “decomposing.” This is a musical “whodunnit” and is especially funny if you have ever played in an orchestra.

Gershwin's Rhapsody in Blue W /CDGershwin’s Rhapsody in Blue W /CD by Anna Harwell Celenza

A wonderful picture book that tells the story of Gershwin and his famous Rhapsody in Blue. Gives some great background information, has lovely pictures and comes with a CD recording of the piece.

Bach's Goldberg VariationsBach’s Goldberg Variations by Anna Harwell Celenza

I haven’t checked this book out yet, but I imagine it is wonderful, as it is by the same author as the book above.

Pictures at an ExhibitionPictures at an Exhibition by Anna Harwell Celenza

Ditto to the above book. Wouldn’t these be a wonderful way to teach music history/piano literature??

M Is for MusicM Is for Music by Kathleen Krull

This is a fun alphabet book featuring so many genres of music. I love that it mentions Elvis, The Beatles, Hildegard von Bingen, Prokofiev, yodeling and Louis Armstrong all in the same book – and it totally works.

This is such a creative overview of music, and would be a fun teaching tool. After going through the complete alphabet (“B is for Beatles,” “G is for guitar,” “P is for piano and practice, practice, practice,” etc.), there is a glossary section called “Musical Notes from A to Z” which goes into greater detail on all the instruments, genres and composers listed in the book.

Lives of the Musicians: Good Times, Bad Times (and What the Neighbors Thought)
Lives of the Musicians: Good Times, Bad Times (and What the Neighbors Thought) by Kathleen Krull

I remember reading Kathleen Krull’s books Lives of the Writers and Lives of the Artists in elementary school and just loving them. I am happy that she has now written one about musicians. This is a great book that tells about famous musicians in a fun and interesting way.

Zin! Zin! Zin! A Violin (Aladdin Picture Books)Zin! Zin! Zin! A Violin (Aladdin Picture Books) by Lloyd Moss

A fun book (with accompanying CD) that tells about the different instruments in an orchestra. Great for learning music appreciation!

What are some fun books you know that would be great “waiting room books” for a piano studio?

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Piano Teaching Q&A: Practicing

Each week we will be featuring questions asked by our readers, and will do our best to answer them and to give some ideas 🙂

This week’s question is about practicing. Carrie asked:


How much do you ask your students to practice? As much as it takes to reach a certain goal? A certain number of minutes? Or a certain number of repetitions? How much is the right amount for a young student, and how do you communicate and enforce your expectations?

picture from here


Ah, the joy of getting your students to practice. What a topic. What music teacher has not struggled with this issue? We will most definitely be having a week or two all about practicing & motivation here on The Teaching Studio, but as a brief answer to this question:



I do feel that it is more important to complete/pass off assignments rather than practice a certain number of minutes. However, I still think it is helpful for students to keep track of minutes for various reasons, particularly so I have an idea how long they are actually practicing, and also so they don’t just play through their pieces once and think they are done (more about teaching students to practice later!)

I have my students make their own practice goal, with my help (for example, a goal could be to practice for 30 minutes a day for 5 days out of the week). That way they have a little bit more ownership over their practicing than if I just told them they had to practice a certain amount. However, I also make sure they have a clear idea of what the assignments are for the week, and I stress passing those off. I use a point system, where they earn “points” for doing certain things – 2 points for reaching their weekly practice goal, 1 point for completing an assignment or passing off a piece, 1 point for performing a piece, etc.

Usually a good amount of practice, I have found, is about 30 minutes for young students (although for very young ones with short attention spans and very short pieces, 15 to 20 minutes might be fine), 45 minutes when they are more intermediate with longer/more challenging repertoire, and 60 minutes once they get more advanced. However these are just guidelines, and I think it totally depends on the student, their attention span and their assigned repertoire.

If you have a question you’d like to ask us, leave it in a comment or submit it here.

the evolving studio policy

Importance of a studio policy/studio contract:

Every teacher should have some sort of typed-out studio policy and contract. I believe these are important for many reasons:

If nothing else, it forces you to sit down and decide how you are going to run your studio – what kind of billing practices you will use, how you will handle missed lessons and other things that come up, what is expected of students, etc. It makes you more professional. It gives students and parents a clear-cut knowledge of what to expect out of lessons in your studio.

Also, particularly if you have a contract to sign that goes along with your policy, it protects you, as well as the student. Ninety percent of the time you will have no problems, but the other ten percent of the time you will be so glad that they signed that contract.

This is something you learn as you get experience, and it is just that – experience – that has shaped my policy over the years. I think my first policy was a one or two paragraph thing that basically told what my rates were, and possibly some kind of make-up lesson policy. But then as I taught lessons, I learned exactly what I wanted and needed to put in my policy (and it is still always evolving!)

It is times like these when you learn what you really should put in your studio policy:

  • One week when I was in high school a little girl showed up to her lesson with a note from her mother saying, “This will be so–and-so’s last lesson. Thank you.” She had only taken lessons for about a month. Are you kidding me? Who does that? But alas, I had no policy about a situation like this, so I couldn’t do much about it.
  • I taught a little girl for a few weeks and the parents just did not pay me. I ended up having to knock on their door to get the check.
  • One boy showed up at his lesson acting quite a bit under the weather. When I questioned him, he told me he had strep throat. I think I was pregnant at the time. Boy was I bugged that this kid showed up, coughing, to his lesson that day.
  • A parent strongly questioned the tuition amount (which is the same every month) because her daughter had missed a lesson (which was a no-show).
  • A teenage boy hardly ever, and I repeat EVER practiced, despite my noble efforts. (Hence came the line in my policy, “Students who do not practice do not belong in my studio.”)
  • A student was consistently at least ten minutes late for his lesson.

Anyway, I could probably go on and on. The point is, as you teach and encounter weird (and sometimes annoying) situations, that is when your studio policy really starts to take form, and you learn exactly how you want to run your studio. Hopefully we can all learn from each other, and hopefully avoid some of these situations by starting out with a great policy that covers all the bases.

I decided to share my (current) studio policy with you (I probably change things in it each semester) – and I am sure you will be able to pinpoint which parts of it were results of previously mentioned situations 🙂

If any readers would like to share all or part of their own studio policy (because sometimes it is helpful to read some examples of different policies), then feel free! You can either put it in a comment, or email it to us and we will post them all together in a post. (If you do share your complete policy, I’d suggest taking out any personal information such as email address, phone number or address.)

The Piano Studio of Jennifer Boster – Studio Policy & Contract

interviewing & auditioning

A few more thoughts on finding students:

Hooray, you got a phone call from a prospective student! So…now what?

When I get phone calls or emails from people interested in piano lessons, I usually 1) am very pleasant, 2) ask for some basic info about the student’s age and musical background, 3) give some pertinent info about myself/my studio, 4) get their email address, 5) set up a meeting/audition for the prospective student to come meet me and play for me, and 6) follow up with an email to the parent (or adult student) with a copy of my studio policy and a helpful link.

Seriously, sometimes you need a sort of “script” planned out as to what you need to tell them and what you need to ask them. At least I did when I was starting out.

Then, when they come and meet me/audition for my studio, here’s what we do:

  • I introduce myself and talk about my teaching philosophy/style of teaching
  • get to know the student. I give them a nifty little form to fill out with all the basics, as well as some very helpful questions such as “WHY do you want to take lessons, and WHAT do you hope to get out of all this?” Seriously very good to know. Here’s my little form…it’s super helpful to keep these on file for each student…
  • the student then plays a piece or two for me
  • hand over a copy of my studio policy/contract (which they hopefully already read in the email) and go over some things/answer any questions
  • I also think it’s fun to give them a CD recording of myself performing some pieces, so they can take it home and listen; or of course you can just perform for them right then and there! I think too often we don’t perform enough for our students – let them know you’re good and that you know what you’re doing!
What do YOU do to “interview” new students? Any ideas on how to make you and your studio stand out to prospective students?

wanted: piano students

Oh the joys of advertising for students.
Obviously, we all know that this is an important step when setting up your studio. For a young teacher starting out (or any teacher looking to expand their studio, for that matter) it can be a daunting task. I seriously would love to get to the point where students come to me with little to no effort on my part, and to where I actually have a waiting list. That would be the life. Unfortunately I have moved around quite a bit during my years of teaching, so I have never actually gotten to that point yet.
I have had quite a few students in my teaching career, so I obviously had to acquire them somehow. Here are some ways I have found students in the past:
1. teaching unsuspecting younger siblings & cousins as some of my first “guinea pigs”
2. mailing little brochures to people with young children in my neighborhood
3. delivering fliers to every. single. door. within a five mile radius of my house with the help of my [amazing] mom and her minivan (probably got 1, 2 students tops from this method – plus a lot of exercise)
4. putting business cards and fliers in random places, such as a car wash (got one student from the car wash. awesome.)
5. putting fliers in music stores (this method actually works pretty well)
6. advertising on craigslist or some other online classifieds website (this method guarantees you will receive plenty of spam email from folks in other countries who are sending their children to America on holiday and they would like you to teach them for x number of hours per day for x number of months and they would like to know how to wire the money directly to your bank account. score!)
And, the absolute best method, in my opinion:
7. WORD OF MOUTH
So, I guess what I’m getting at is this: feel free to tape fliers to hundreds of doors and advertise online to your heart’s content (and you may have to use some of these methods when you’re just starting out), but my advice would be to get to know other teachers in your area and let them know you’re looking for students. Be the best teacher you know how to be, so your students will refer others to you.
I’d love to hear what others have to say on this topic, as I am currently searching for more students myself. I could use a little inspiration in that department 🙂
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