Piano Teaching Q&A: Group Classes

I have a small studio and would like to start doing group classes for my students. How many of these classes are good in a given ‘semester’? One or two? Also, I would love to see some discussion or input on what good activities for group classes would be for beginning, intermediate, and advanced students. Thanks!

Thanks for the question! I thought since we have just spent a lot of time on group teaching this would be a perfect topic to discuss!

I think that having periodic group classes in your studio can be so invaluable to your students. There are so many things you can accomplish in a group class that you cannot in a private lesson. Having said this, I actually have personally never had regular studio classes in my own studio, but definitely plan on it as I am finally going to be staying put in one location for more than a year (hehe) and will have time to build up my studio more 🙂 So please, readers, I’d love your comments and thoughts as well!

A few things that would be absolutely perfect to teach in a group setting:

  • Music Theory – every teacher knows that it is practically impossible to take as much time as you really need/want to during private lessons to really cover all of the necessary music theory concepts. Music theory is also perfect for teaching (or reviewing and reinforcing) in a group setting, as you can use so many fun games and activities to learn the concepts (hint hint readers….*discuss game ideas* ready go!)
  • Performance – this is the hugely important one for me that I really would like to have a group class devoted to. Performance is so important and cannot be learned unless the student has real opportunities to perform (go figure). Performing is so so different than practicing, or even just playing for your teacher. Having the opportunity to perform in front of your peers on a regular basis will work wonders for your students’ performance skills and confidence. I loved going to studio class as a teenager and being able to perform for my peers. As we listened to each performance, my teacher had us each write “love notes” (yes that is what she called them – love it!) to each other, telling some things that we liked about their piece and maybe a suggestion or two. I think that really helped me learn how to listen to a performance and critique it, and in turn to be able to critique my own playing better. 
  • Music History & Music Appreciation – what a great opportunity to teach your studio about a specific composer and have them listen to some great music.
  • Duets! – group class is a perfect time to learn about and practice ensemble playing, accompanying, etc.
As far as how many classes to hold during a semester, I think it depends on your goals and the needs of your studio. I know some teachers who hold class monthly and some who hold class once or twice during the whole semester. As a teenager I went to group class about once or twice a semester, usually in the month or two before a recital. The main goal of that class was to practice performing our recital pieces. If your goal is to supplement the private lessons with a theory class, perhaps once a month might be better.
Something else not so important (but worth mentioning) is that treats are always appreciated at such events 🙂 There was never a studio class that went by in my teenage years without receipt of a Creamie at the end.
So readers, now it is your turn! I’d love your input about specific game/activity ideas for group classes, and any other suggestions on this topic.
If you have a question about piano teaching that you’d like to ask us, please leave it in a comment or submit it here! Thanks!

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!**

Introducing the Keyboard

I’d like to share a fun little game that helps introduce the keyboard to young students. I wanted to help my little students learn the layout of the keyboard – that there are groups of two black keys and groups of three black keys, and that these alternate. I also wanted to make it fun, rather than sit them down on the bench, explain how the keyboard is laid out, and then show them the keys (we don’t want to bore these kids!!).

So, I made a Giant Keyboard puzzle. Each piece contains either a group of two black keys or a group of three black keys. Students can sit on the floor and try to put the puzzle together the right way. I like to just sit on the floor with them and talk about the keyboard there as we do the puzzle. Later you can go to the piano and play the black keys. Once you put the puzzle together, there are so many ways you can use your new giant keyboard to teach new concepts (some of which I will share with you in upcoming posts)!

I love this because it is super simple to make and to use, and it gets young ones having fun while learning about the piano. You can also keep a copy for your studio and send home individual giant keyboards with each young student. I have included two different versions you can choose from – one with the black keys filled in, and one with them not filled in (for others like me who frequently run out of black ink and feel like doing some coloring! haha). I printed three copies for my giant keyboard (so I can make three octaves), but you can print however many you want. I cut out each piece, and then I mounted mine on colorful cardstock to make them a little more sturdy and fun. Laminating them would also be an excellent idea, so they will last longer! Enjoy!

(…and stay tuned for a fun giveaway coming up!)

Giant Keyboard Black Filled In

Giant Keyboard

Pin It

Weekend Repertoire: Le Cimetiere

In honor of Halloween, I’d like to share a great piece I played at my senior recital. Le Cimetiere, or The Cemetery, is from the four-piece work Clairs de lune by Abel Decaux, a French organist and composer who lived from 1869 to 1943. I believe this is the only piece he ever published, and is very modern for his time. Make sure you keep listening for the awesome chords in the second half of the piece – I just love it!

HAPPY HALLOWEEN from The Teaching Studio!

Inspiration.

I wanted to share a few wonderful things I have discovered lately:

1. This fun blog, Music for Tots. I love this post about making a difference in someone’s life.

2. Another great piano blog, Gretchen’s Pianos, and this post that tells how sometimes “enthusiasm trumps experience!” Love it.

3. These. Although not exactly piano-related (hehe), these were my usual practice break treat in college, and they are a-mazing. Last week when my usual dark chocolate wasn’t available at the store I decided to try extra-dark….mmmmmm…

4. A great scale preparation exercise, or spider fingers – what a great idea! I love this blog by pianist/writer/teacher Amy Greer, who I first became familiar with by reading her column in American Music Teacher five years ago.

5. Dvorak piano quartets (or maybe quintets?)…so a couple of weeks ago I went to the grocery store at night after putting my son to bed. As I pulled out of the garage and turned on the classical music station I heard the most gorgeous music. After sitting in the grocery store parking lot for a few minutes and realizing that an entire new movement was just starting, I called my husband and asked him to google the radio station, listen online and find out the name of the piece! Well, he caught part of the name and we know it is either a Dvorak piano quartet or a quintet….quite possibly this one, but I’m still not sure. Either way, it’s gorgeous!

Teaching the Individual, Part 5: Communication & Attitude

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. For this final segment, I’d like to talk about the importance of communication and attitude.

Communication

Just as it is important to communicate with a new student about goals and expectations, it is just as important to keep communicating with them all along the way. Communicate with the parents to keep them involved, for they play an important role. Discuss with the student how they are doing on their goals. I think if we can keep a good line of communication going, students will feel like they can tell us when they absolutely loathe a piece we chose for them. They will be more likely to communicate honestly about how they are feeling about lessons, if they are enjoying them or if there needs to be some changes.

In what ways do you keep a good line of communication going with either the student or the parent?

Attitude

A couple of weeks ago I heard an inspirational address given on teaching. While this was directed specifically toward teachers in a religious setting, the speaker said a couple of things that really resonated with me as a piano teacher. He quoted David McCullough, the great author and lecturer, who said, “What matters most in learning is attitude. The attitude of the teacher.”

I think that if we can approach teaching each individual student with a good attitude, no matter the student’s ability level, goals or personality, we can truly succeed in teaching them the joy of music. Even if they never perform on a big stage, or any stage at all, we can teach them the joy that comes through making music, and hopefully give them a great, positive experience with music lessons.

Teaching the Individual, Part 4: Lesson Planning

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.
Lesson Planning
As you approach each individual lesson, have a plan! Obviously this will have to be a flexible plan at times, depending on the preparation of the student and on things that may come up during the lesson. But it is always good to know what you would like to teach the student that day. Depending on their age and level, you may want to have some type of game ready to introduce a new concept. You may want to focus on an important concept they have been struggling on in the past, maybe on counting, keeping those fingers curved, memorization, sight reading, etc. 
Sometimes it’s helpful to jot down a few notes after each lesson – note the challenges and difficulties a student is having in a particular piece, or a concept they need help really learning. Note the successes and strengths and things they have really done well in. When it comes time to teach them the next week, get out your notebook. Decide what you want to focus on that day to help them. Even if it is a five-minute activity, or game, or demonstration. Let’s strive to be teachers who plan for each student to succeed, who know the things our students need to learn, and who think of creative and innovative ways to teach these concepts. Let us not be teachers who merely turn the page and see what concept the book tells us to teach next.

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.
1 6 7 8 9 10 17
Verified by ExactMetrics