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Tuesday, February 09, 2010

Teacher Lounge
Running Your Teaching Studio
A Guide for Private Music Teachers

The goal of this discussion group is to provide a channel for music teachers of all backgrounds (and instruments) to ask questions, make suggestions and get answers to the problems that they face in their day to day teaching. We invite you to discuss your experiences and share your ideas so that other teachers may benefit from the knowledge that you have worked so hard to acquire.

Original Message

5/20/98 MusicStaff.com contact@musicstaff.com
I am interested in finding out if any one has any ideas on how to get a 16 year old female voice student to practice.

5/26/98 Dirk Van Onckelen dirk.van.onckelen@pandora.be
I'm Dirk Van Onckelen and I am viola-teacher in Leuven (Belgium). I have a class of 6 pupils who vary in age from 12 to 40 years old. Here in Belgium, pupils who are less talented violinists, are often persuaded to study the viola. In this manner, the viola becomes a second choice and the pupils often are disinterested or they often don't want to study at all. This is not a good manner to create a positive image of the viola.

I'm thoroughly convinced that this is not a good way to select pupils for viola-instruction and would like to know your opinion on this.

Perhaps a selection can be made:
* on tone-quality of the viola (does the pupil like a deep pitch, or a high pitch tone)
* on physical qualities of the pupil (length of the arms and fingers)
* using a special popular viola-method etc....

6/1/98 Kevin Dollar kohnno@gte.net
In reference to the 16 year old voice student:
I teach only guitar, not voice, but with my teen-age students, I've found a method to instill good practice values. I schedule them for either a normal recital (which we have every month) or for a community performance (for which I am responsible at my place of instruction). The pressure of performing in front of a crowd leads to regular practice (although only temporarily), in hopes of not completely stumbling through a piece. Many students enjoy the entire process and stick with it. Of course all performances we give are designed to feature all levels of performers so there is little in the way of competition, and the students always get a positive response for their efforts. It has worked very well for me in many cases.

6/7/98 Karen kstaff@usmo.com
Some suggestions on the practice "headache":
1. Have her attend performances or recitals in which kids her age are participating.
2. Discuss with her parents about scheduling small opportunities for her to perform, such as at church, where there's pressure, but the world won't come to an end if she goofs up. It might just be the spark to ignite some practice to save face next time!
3. If there's a local (or even not-so-local)performer she admires, see if you can get some communication going as to the time needed to be good.
4. Make sure she's taking the lessons for herself, not for her parents. If she's doing it for them, she ain't gonna be inspired :-(
5. "Entice" her with popular music. Talk about a song she really likes, and tell her, "We'll study this song, but in order for you to be capable of handling it, you need to reach this level". When she's made it thru what you would like her to do, in a satisfactory way, then take a day to just do some "fun" stuff.

6/8/98 Don Erhardt
It is much easier for an adult to choose an instrument because they can get around and hear and see instruments they like. A child is often given an instrument and told to learn it. Would it not be better to have some kind of camp full of instruments and just see which one the child starts playing with and go from there. In school I wanted to play the flute but the band needed trombones so that was my only choice. I feel we would all be better musicians if we had the natural choice of instrumets. I agree with the comment made earlier that each instrument has its own virtues. The lead instrument is not always the best. Any instrument can be a lead instrument when played expressively, the problem lies with the music that is writen. Lets broaden our scope and write for these other traditionally supportive instruments and I beleive attitudes will change and children will hopefully no longer feel like a failure because they don't get a chance to play the lead instrument. One has to understand that without supportive instruments there are no lead instruments.

6/14/98 Troy Moore btmoore@ellensburg.com
As an instructor I often use written materials to aid in my lesson planning. Books, tabs, sheet music, etc. I recently began teaching a blind man how to play guitar and I have had only limited success in finding resources to help him remember chord structures and names. I tape our lessons but he has difficulty remembering and understanding. He is in his early 70's and he loves to play and loves to listen and learn from me but I would greatly appreciate any advice on how to effectively teach someone when I cannot rely on using written materials.

8/7/98 Mick Kaluzny mick.kaluzny@bluewin.ch
Talking 'bout the blind man you teach playin' guitar. I am a musician for a hire and a guitar teacher. I think that it takes sweat and tears to find some teaching concept for such a case. If that guy is in love with music then it should be sufficient if you base your lessons on the "learning by repeating" system. For example; If you take two chord figures and make your student repeat them for half an hour using different grooves and a little bit of your sense of humor, he will remember it for the rest of his life. Well, it may be boring for him at first, but it's your task to explain him that that may be the only way to work something out. Now, if this doesn't work, you can find another way of musical communication. For chord figures, for example, you can invent a system like: Am7 - b/1/1 (string "b"/finger 1/position 1) d/2/2... All of this you can record, I guess. Besides, you need know he's an old man and cannot manage too much stuff in one lesson. Take less material then, and repeat it until it's in the pocket.

8/26/98 S. Kolding skolding@hotmail.com
Dirk - the viola situation is much the same here in the U.S. I would recommend facing this issue head-on, by discussing it with your students. Chances are, they already feel like "second-class citizens." Particularly for your younger students, remind them of the beauty of the viola. Have them listen to and learn excerpts of famous viola solos, to help them find the joy in their instrument. Who would want to play a screechy thing like the violin when there are richer, mellower sounds to be found? Besides, good violin players are a dime a dozen, but a good viola player - ah, now there's a treasure!

9/3/98 Cheryl Picerno rocco@akos.net
Give the student 3 strikes and she is out! It seems to me she either 1) loves the negative attention or 2) she is afraid to quit because of hurting your feelings.

I put students such as these on probation they have 3 weeks to prove themselves and then I tell them when they are really dedicated in learning how to display their talents instead of hiding them in a closet to come back. If they don't come back then you know you were wasting time where another student could fill the spot as well as the talent.

9/21/98 Trev t_mcp@hotmail.com
Hi there. I am a private instructor (gtr, bass, mandolin) in Salmon Arm BC, Canada. I just wanted to say how thrilled I am to find this site. There is a certain comfort in knowing I'm not the only one with teenage students who don't practice:-) I find that including Top 40 songs in the teaching repertoire, and discussing the chord structure and scales used helps them stay a little more focused. They will at least respect you for taking the time to listen to and learn "their" music, and in the long run it makes them more receptive to what you have to teach them.

9/23/98 Mary Beth Woolfolk lulydog@aol.com
I like the three strikes you are out idea! It is one thing to be understanding and try to get to the bottom of certain behaviors but I think we educators (and parents) do kids and young adults a great diservice when we perpetuate situations where they do not have to be responsible. Offer your help,suggestions and emphathy but also let the student know you expect effort and communication on their part as well or it's "bye bye". Do you (teacher of the 16 year old) hold regular master classes for you students? I have found in my piano studio that this is a great way to provide motivation and inspiration. Naturally students want to do well in front of their peers and they also enjoy hearing others music and getting repetoire ideas. Master class also provides a support group for the students-they can meet and make friends with others involved in the "struggle" and they get to regularly share their music. What kind of support does this student get from home? Is this lack of practice been routine from day one or developed recently? Perhaps there has been a recent upheaval or stress in her life. Does she really know HOW to practice? We often assume that students just naturally know how to logically go about practice. When you give her an assignment ask her how she would go about it. I feel that next to the music, one of the most important things we music teachers teach is how to practice-how to logically order the steps so that success is achieved. Might be something to discuss with her. Hope some or all of this is useful.

9/25/98 Desiree DezB64@aol.com
When I worked in a school for the Blind we had a machine called RICO FUSION. What it did was raise the print so someone who is blind could feel it. Contact your local Guild for the Blind for information about one near you. They are usually very willing to help. Good Luck

10/23/98 Kandra kandrajane@aol.com
How young is the youngest piano beginner you have ever taught in private lessons? A mother is asking me about her very advanced three year old, who is indeed advanced. The child has completed a semester of Kindermusik classes, which were dreadfully juvenile and almost a waste. Kindermusik will not let students advance ahead of their age group, I'm told, and so the parents are interested in their daughter beginning Suzuki violin, and possibly piano lessons. She doesn't quite read yet, but knows the alphabet, phonetic sounds of letters, the map of the U.S., arrangement of the 50 states and facts about each state, and many other concepts. The little girl can also sing very well. Any comments on this would be appreciated; HOW YOUNG IS TOO YOUNG?? Thank you.

10/28/98 joel pace joelpace@juno.com
kandra, i wouldn't usually teach a 3 year old, but it has been my experience not to prejudge anyone because of age....you may want to give her a trial lesson and see what happens.....you could tell by her attention span and whether she can grasp simple concepts or not.

11/19/98 Rachel Sakai jarcher1@osf1.gmu.edu
Maybe if we had a forum on the various method books out there. I don't know about other instruments, but for piano there's a million different method books. For voice there's none! It's hard to find the right one, and to know what each one has to offer. Also, maybe there is a vocal method book out there that I don't know about? I think this would be a valuable subject.

11/21/98 Ron English bach24@mail.texas.net
I don't have that much trouble with students practicing. I give them what they can handle at the lessons and make certain they are capable of doing the assignment before they leave. I instill heavy drilling and they learn how to practice and study music. Of course, my students don't return each week with 100 percent practice records but it rarely a problem. Recitals help and master classes quarterly are an incentive. I also sometimes use a good CD of a famous person which leads to inspiration and motivation.

11/21/98 Ron English bach24@mail.texas.net
Topic Suggestion:
Should students be required to participate in recitals, Guild Auditions, etc?

11/22/98 MIKE MRacer15@aol.com
hi
how much does a bagpipe cost to buy, is it easy to play and are there alot of teachers out there to teach people how to play bagpipe?

11/30/98 Gabi eadler1220@aol.com
Hi! I'm just curious: how many of you out there (piano teachers) require that your students have a piano at home (not just a keyboard)? I'm the mother of two boys, 6 and 8, who have been taking piano lessons for 6 months, and 3 years, respectively. We own a 61 key electronic keyboard, which is still fine for the younger one, but the 8 years old is beginning to outgrow it. Their piano teacher has told us he needs to start using pedals, which means us buying either a piano, or a keyboard with pedals, so he can study more advanced pieces. She is strongly recommending a piano, arguing that electronic keyboards, no matter how fancy they are, cannot come close to a grand piano in either feel, or sound quality. Furthermore, because they lack the "weighted" feel (even though I understand some keyboards do have weighted keys), they promote a mechanical style in her students, which would end up damaging her reputation. Bottom line: she was told by the studio manager to drop all students who don't already have, or will soon get a piano (not sure if a full-size keyboard like the Korg XC-3000if would be considered acceptable substitute). Does her position make sense to you ? Now, here's the problem: My husband thinks a keyboard would be a better choice for us, allowing the kids to experiment and have fun with the MIDI interface, and giving them a more complete musical experience. It also has some convenient features such as muting (hence more flexible practicing schedule, by using headphones), and compactness (we don't have a lot of room). So, the question is, who's right? How critical is learning the proper hand weighting technique at this age, and how difficult is it to add this skill later on, say at age 12-13? Does it make sense to consider buying a keyboard for now, and switch to a piano in a few years? If we get a piano now, should we consider an upright (due to lack of space) instead of the Korg? Finally, would a fancy keyboard with all its nifty features distract the kids from learning the important piano skills? Thanks in advance for your feedback, and I apologize for the lengthy posting.

12/5/98 Mark mjenning@usit.net
Gabi, I am very impressed with your genuine concern, and your extremely good questions! I would recommend an acoustic piano as opposed to an electronic keyboard for more than one reason. You're right, there are keyboards with "weighted" keys, but it's not the same (at all) when compared to a good acoustic piano, particularly a good grand. But even a good upright is MUCH better than an electronic keyboard for learning technique, expression, etc. It's much easier to go from playing an acoustic to a keyboard than vice versa. Granted, they are getting closer all the time to being able to match an acoustic (tone, "feel", etc.) but are not there yet, and I'm not sure they ever will be. There are advantages to having a good electronic keyboard if you are a professional performer such as always having a quality instrument at your gigs, etc. but I wouldn't have anyone LEARN on one. There's so much I could say about this aspect that time and space doesn't permit. Another important aspect to consider is your investment. Anything electronic (including a keyboard) is constantly being updated. In my opinion, they are far more expensive in the long run than a good acoustic instrument when you consider the fact that the electronic version will be obselete in no time! They're like cars. As soon as you buy one, it has already depreciated. I wholeheartedly recommend purchasing the best acoustic piano that you can afford. If for whatever reason you want to sell it later, you can sell for as much (or more) than you paid for it, provided it was a quality instrument to begin with, and that you have maintained it well. Learn how to properly maintain it, and you won't have a problem. You might not sell it after one week on the market, but if you're patient you can get your investment back. I hope this has helped.

12/9/98 LANNY AUSTIN la1mrvl@moa.net
There are many fine midi capable piano-keyboards out there which are weighted --they are more$. As a professional woodwind player I can't bear any whining from 19th century purists re their "touch and feel" concerns. My piccolo and baritone sax "feel" quite different--so? Learn to be flexible. Musicianship is the issue! Check out recordings by people like Keith Jarrett and Chick Corea--they seem to handle keys from 10' grands to harpsichords!!!

12/9/98 Christine Violine1@aol.com
Dear Gabi,
As a violin teacher who has also taught the piano, I strongly agree with music teachers who insist that beginning piano students ought to study from at least an upright or a console piano. Given my profession as primarily a violin teacher, I have to limit the number of piano students I take in. In that case, I will not accept any students who do not have at least an upright or a console piano. Why? From my experience as a keyboardist, many electric keyboards require a different touch from a traditional piano. The touch resembles more of an Organ technique than that of a standard piano. If you seriously want your child to study the piano, then that child ought to study from a piano. If you want your child to study on a keyboard, then go ahead. If you like your child to have fun with an electric keyboard, with all of its interesting sound effects, yet allow him or her to experience an instrument similar to a standard piano, I would strongly suggest that you consider purchasing a Yamaha Clavinova. I have one in the church I serve at, and I would recommend it to any family who is in a similar situation as you. As a violinist, I believe one ought to study on the instrument he or she wants to play. My analogy is: If I seriously want to play the violin, I wouldn't start out by playing the cello. I am not saying that cellists can't learn the violin, but in the long run, it would be to my benefit. I would not have to unlearn the differences between the two instruments. I believe that may be a concern if your child studies keyboard, but might later decide to really become a pianist instead. Please consider these concepts, and before you buy another piano, please consult your child's instructor first.

Sincerely,
Christine

P.S. : I would appreciate hearing back from you. Happy holidays!!!

12/17/98 Gabi eadler1220@aol.com
Many thanks to everyone who answered to my previous posting. We decided to resolve our dilemma (for now), and to appease our piano teacher by renting an acoustic upright piano (Yamaha U1), and everyone is happy! I happen to agree that our children should learn on an acoustic piano, but until I convince my husband so, we went for a rental. We'll probably end up buying a similar piano, but now we can at least take the time to leisurely shop around for one that would suit our needs and at the same time please our senses. So, any suggestions as to what brand of upright to buy would be greatly appreciated!

1/13/99 Norma RDonogh@Compuserve.com
In response to Kandra..."How young is too young?" The program I teach advertises lessons in keyboard for beginner levels aged 3-8. It has been my experience, however, that 3 years old is just too young for 2 reasons. #1...their attention span. Certainly, you cannot expect a 3 year old to do any one thing for more than 20 minutes. #2...their coordination and strength. A child that young may not even be aware of the individuality of their fingers. I, also, have taken on students who seemed very bright for their age (and were!) but in many cases they became frustrated. And frustration is not a good memory of your first musical experience. If these parents insist on music lessons at aged 3, I would advise them to choose a program that involves some "up and down" movement during the lesson.

1/14/99 Gene leijon@earthlink.net
Hi, my name is Gene Guth and I am a former middle school band director. I have recently opened a private studio and I was wondering if I could have any other student contracts samples. (The ones in the lounge were great!) I was also looking to publish some of my own educational material.

1/18/99 Cindy Maynard camaynardwilm@juno.com
I am a piano teacher. Previously, I have had recitals for students that wanted them free of charge. However, I have seen some studio policies saying that there is a recital charge. Do any of you charge for recitals and if so, what? Also, do you charge for master classes?

1/22/99 Beth banas@cadvision.com
With regards to "How young is too young?"... I teach piano & keyboards starting at the age of 3 years old. However, what works really depends on each individual child. Some 3 year olds cannot sit for 5 minutes, let alone 30. What works for me is to have a semi-structured lesson whereby singing, playing the piano amd other rhythmic instruments, musical games and crafts are utilized. This way, if the attention span is minimal, you simply change focus. I find that this semi-structured lesson also works very well for students that have attention-deficit problems. Either way, if you want to teach 3 year olds... you'd better be quick on your toes!

1/23/99 Becky Wilson
I recently read about Carl Orff's approach to music education. Their website is www.aosa.org, and might be useful in starting such a young child in music. I am just starting to look into it myself. Children especially learn by experimenting (adults are usually too inhibited). This is a great time for them to be exposed to many different musical ideas, whether or not they "understand" them. For as long as I can remember, I knew I would play the flute, though I have no recollection of seeing a flute till fourth grade music class. Somewhere, I was exposed to it and it impacted me greatly. Whichever route you end up taking, I hope the child's parents keep the interest in music strong.

1/26/99 Amccrd@aol.com
Can you help me find musical fonts or any program (other than encore which has the anastasia font) that would be helpful in writting exams for music students? The anastasia font requires triple spacing above and below its characters and is therefore too cumbersome.

1/26/99 Jason Brooks MusicalJCB@hotmail.com
I'm Jason Brooks, a freshmen at Emporia High School and would like to become secondary music band teacher when I get older! I play alot of instruments like: Soprano-Alto-Tenor-Baritone Saxophone, B flat Clarinet, Bass Clarinet, Flute, Oboe, Baritone Horn, Trumpet, Tube, and a little French Horn!!! I have been bless with a gift from God to play every one of these instruments good! I would like to no some classes to take in college or high school! I been playing piano for 10 years now and can site read really good! I just need some advise from you what to do! should I start to order band arrangements or should I go back and look at some other music options? Please reply to this letter!!!!!!!!!!

Musically Yours,

Jason Brooks
1525 Watson St.
Emporia, Kansas 66801

1/27/99 Jason Cole jasoncole1@compuserve.com
Could you please send me through some information concerning the teaching of the harmonica.

I'm a primary teacher in England and I currently teach music. I would love to introduce the children into the harmonica, however, the music avaliability is poor. Therefore, could you please send me any information that may help?

2/8/99 DC DowDell keyplyr@webtv.net
Responding to requested info about alternative musical font programs, before a software search becomes critical, try the various ShareWare venues for either Basic Beethoven or one titled Mostly Mozart and I`m sure there must be many others!

2/21/99 Joe Baudendistel joebmath@swbell.net
I am a new teacher and was searching for personal teaching mission statements and this site came up. Could you direct me to or forward me some of your better personal teaching mission statements? Thanks for your timely response.

Sincerely,
Joe Baudendistel
San Antonio, TX

3/2/99 Carrie pnotchr73@yahoo.com
Regarding the recital charge that someone had asked about... I do not charge a recital fee, and have never heard of anyone doing so. I hold recitals at one of the churches in our town, twice a year. I am able to use the church free of charge, so there is no need for me to pass any charges to my students.

3/5/99 Adela Peeva/Magdalena Vassileva adela@mail.acs.acad.bg
We are teachers at the American College of Sofia and we are interested in music scores for choir and also for some musicals which could be performed at the College. May we have some more information about that?

Thank you in advance,
Adela Peeva
Magdalena Vassileva

3/8/99 Mary I3al3yPnAi@aol.com
hello!
i'm 13 yrs old, from texas, and i'm in a varsity band and i play the flute and i was just wondering if i can find some music from the internet so i can play it...if there is..please oh please give me the link...thank you very much and keep up the good work !!! =)

always, Mary =)

3/14/99 Alex Hirsch ahirsch@san.rr.com
Hello. I am a 17 year old piano and guitar student, and recently I've become interested in teaching piano part time. As I have been playing the piano for about 10 years now, my teacher believes that technically, it should not be a problem. However, I have no idea how to get started and was wondering if anybody here could give me some advice. For one, is it better to affiliate myself with a local music store or to teach house to house? What is the best way to go about advertising? What particular age group should I be aiming at (ie what's the EASIEST age group to teach)? Also, I don't really know where to begin preparing myself. When I began taking piano lessons, my teacher had a strict plan for each student, beginning with the Bastian books. Is it better to have the same "course" for each student, or should I make an effort to personalize it? Obviously I will need some materials before I begin, so I have at least something to teach my first student. Are there any particular books that I should have on hand when I start? Anyway. Enough of the questions :) I'd be extremely grateful for any advice on how to get started teaching piano.

3/14/99 Gustavo Parra gapa@cable.net.co
Hi, My name is Gustavo Parra I�m a composer and orchestral conductor, now I�m the director of Batuta Foundation for the development of youth Simphonic orchestras. I want to get some information about summer sessions or workshops in film scoring during 1999 in U.S.A, I�m going to travel for two months to U.S.A. Thanks for your help

Sincerely,
Gustavo Parra

4/13/99 Jonathan Fulkerson fulkie@hotmail.com
To: Jason Brooks

Jason, I am a college student studying to become a band director also. Like you, I can play the family of saxophones pretty well, as well as a little trumpet, and piano. Because band arrangements are so costly, I wouldn't recommend buying the arrangement just to study. You can buy only the score to study it, but your band director should have oodles of arrangements, and would probably let you copy some of his scores. Try studying the classics like the Holst Suites in Eb, and F major, and others. The Holst Suites are very good to study. They are grade 5 pieces of band literature that can be interpreted in many ways. I'd be happy to send you some of what I have. Study music, and try to study scores now and learn how to study them for when you ARE a band director. That's what I'm doing.

Talk to you later.

Jonathan Fulkerson
Arkansas State University

4/17/99 Allen Cole drfligo@erols.com
Re contracts:
I don't use contracts. Instead, I teach on a semester system and collect for the semester upfront. Students have one extra day scheduled as a makeup, and I designate a couple of possible makeup dates in case I have to be absent. This eliminates the bill-collecting process and lets me concentrate on teaching. Also, by placing full payment in my hands, it gives me the upper hand in enforcing my policies. Over the last 6 or 7 years, I've had almost no delinquencies, and my relations with parents are friendlier by having dispensed with business upfront.
On recital fees:
I don't know of a lot of piano teachers charging these, but some wind & string teachers tell parents that there is an extra fee for piano accompaniment on the student's recital. The pianist involved will meet once with the student and then will play on their recital for something like $25.

4/20/99 Guy Babusek mrclmind@aol.com
Regarding the 16 year old who doesn't practice. If it is a chronic problem, I usually talk to the student and tell them point blank that if they are not serious, they need to stop taking lessons and find something he/she is interested in pursuing. I know it may sound a bit harsh, but life is too short for the student to waste his/her time (not to mention parent's money) taking lessons they are not interested in, and too short for the teacher to waste time on a student who will never progress. There are too many students who want to excel.

To Rachel Sakai --
Actually there are some vocal method books. Some are good. The Marchesi method book actually has some good stuff in it. Some of the "Pop" vocal methods (complete with video) have some valuable information in them as well. The problem with singing methods, is that until you have some real technique under your belt so much of the information is quite ambiguous. It is very difficult to teach oneself vocal technique (as a beginner). There are no keys to press. Singing is quite mysterious (at first especially). Who was it that said "I have had 10 voice teacher in my life, and that was 9 too many"? What a wonderful forum this is!!

5/7/99 Cindy Maynard
Believe it or not, there are teachers charging a minimal fee for recitals. Why are we musicans so quick to give away our time!? Isn't your time valuable? Do you just take money out of your own pocket to provide refreshments, corsages, etc. I know I thought parents would volunteer to bring some refreshments, but that didn't happen. Dance recitals often require ticket purchases, money and time for costumes. Isn't our time, that includes the day of the recital as well as preparation time and expenditures, worth just as much as a dance teachers?

5/19/99 Jerry Othurme
Does anyone have a copy of Encore (for Mac) that could email me the fonts? Im having hardisc trouble and need to reinstall the fonts....but I lost my original diskettes. Any help would be appreciated. Thanks.

6/29/99 April Hurley
I teach private lessons and I'm thinking of changing my payment policy to try and get some of my students to attend lessons on a regular basis. Right now I have them pay weekly and attendance seems to be a problem with some of them. Have any sugesstions?

7/3/99 Bill L.
What advice can you give on make up lessons. I'm a single parent and teach 95 people a week. I've taught full time for over 10 years. My time is precious to me. People sometimes try to alter their monthly tuition or receive make up lessons. I don't want to build up a bad name for myself by refusing to do make up lessons.

7/3/99 April Hurley
I've been a brass teacher for about 2 years. I need some advice on a subject that I've reasearched, but have yet to find any information on. Most of my students are at the age where they start playing without braces and then they have them put on at some point. Some of my students have a harder time adjusting than others do. I've noticed that alot of times, their sound seems to become airy. Does any one have any advice on this subject or know where I can get some information on playing a brass instrument with brasses. I have my own conclusions, but would appreciate any advice or help with the subject. Thanks!

7/7/99 Patti Kolk
I have high school woodwind players who "refuse" to practice 19th century works or etudes by French composers. We have gone through all the traditional instructional books and duet collections. We've also done orchestral excerpts. I give my students compact discs so they can follow the printed music with the recording at home. These particular students do not wish to pursue a musical career so this option does not give me any leverage. I want their lessons to be as "fun, challenging and anticipated" as when we first met in grade school. Also, I tried to form various woodwind ensembles among my students but their schedules are worse than mine! Thanks for any advice.

7/16/99 Rosalie Gjerde, NCTM
About 50% of the private music teachers who are involved in professional orginizations i.e. Music Teachers National Association do not give any make up lessons. Think about it, the classroom school teachers does nopt have money deducted from his paycheck because Johnny had a cold last week and missed school. Neither should we. Every private teacher should have a well written studio policy that all parents are given at the first lesson or before. Tuition should be paid one month in advance and no deductions should be given unless there is a very unusual circumstance. My own way of dealing with this is to offer a once a month-hour long make up lesson for every student who has missed a lesson in the past month. This is a grouop lesson where I do not do the same things that I do in a regular lesson. We may do the twelve bar blues or experiment with the Clavinova or play some ensemble music. I will put an advanced student with a young student and ask him to help the younger child with flash cards, scales or anything that I find important to that child. This can sometimes cause a special friendship between two students of diverse ages.

7/20/99 Esther Simkin
With regard to the question of "how young is too young . . ."

In my opinion, after approximately 20 years of teaching piano, I have come to the conclusion that to try to make a "standardized decision", if you will, regarding when a child is or is not ready to begin to study music is futile if not foolish. For me, the wisest approach has been to regard each case on an individual basis. Right now, I am currently teaching a four-year-old child whose parents were told was too young to begin piano, since she is "just bright" not a prodigy. That was three lessons ago. The child is now reading music and can identify notes and note values. Had I gone along with the "tried and true" rules of thumb, I would have missed out on teaching what has turned out to be an exceptional and thoroughly charming student. Of course, her parents are ecstatic. Let us not forget that, (genius notwithstanding), Mozart had a father who was already a reknowned music teacher in Europe and who made a point of encouraging and eventually capitalizing his son's interest in music.

7/21/99 Laura Maune
I need opinions!! I have an adult piano student. She is taking lessons to simply to be able to play for fun. She has long finger nails. These cause her to play with "flat" fingers to avoid the nails clicking when she plays. Should I make her cut these nails shorter? Thanks for your input!!

7/21/99 Rachel Sakai
About recital charges: I do know a teacher who charges a small fee for recitals (to cover the cost of renting the church, refreshments, etc). I don't charge a fee, but a require each student to bring some kind of goodie for the reception.

7/27/99 Verla Jones
About recital fees, missed lessons, etc. I charge a flat fee for the 9 month year. In my policy, I state that this fee includes 34 lessons, the recital rehearsal (when I have all the students together at the same time), and the recital. I do not give any excused absences. I break the fee down into monthly increments, but do have one parent who pays me it all at once. I still have problems with parents and students thinking they should have a make-up lesson that they have missed. Visit my web-site at and read my studio policies. Then I would like any comments on rewording that part of my policy so it is even clearer.

7/28/99 Tina
Hi. I am looking for some fun games to play with students during master classes and to break up lesson time. I have flash cards and music bingo, most of my students are beginners. Any suggestions? Thanks.

8/11/99 Crystal
I am entering college at the end of this month as a music performance major. I am very interested in teaching private lessons but I don't know how/where to find students or if I am even qualified to teach. Should I wait until I finish college to begin teaching?

8/12/99 Liz
Hi. I have a question. I am wanting to learn how to play the saxiphone, and I already play the clarinet, since I was in 7th grade. I have played it for 17yrs, and I was wondering if the notes on the saxiphone are similar to the ones on the clarinet? I really have no idea where to start. I am really anxious in learning to play the saxiphone, if you could just email and let me know what notes are what, then I will be on my way. I really would appreciate this. Thank you for your time.

8/12/99 Angela Felsted angysf@yahoo.com
I must confess that my billing policy is very, very, relaxed. Most of the "contracts" I have with my students are verbal rather than written. I almost never have problems with students not coming or not paying. When they come for their first lesson I give them a choice between paying monthly, bi-mothnly, or weekly. Then I keep track of all payments or lack of payments on my computer. I tell them that giving me 24 hours notice when they are going to miss a lesson is a matter of courtesy, usually that is enough. I used to have a written policy, but I found that those who don't honor verbal agreements usually don't honor written ones either--and I can't think of very many things less fun than bickering over a contract.

8/13/99 Sara Driver
This response is to the question posted regarding payment policy. I have been teaching for 16 years, and the most important bit of advice my own private teacher ever gave me was to have the student pay by the month, for all of the lessons they intend to take that month. I have a 24 hour makeup policy, which I tell every parent/student about before they even start taking lessons. I am willing to work with people if they speak to me ahead of time, not when it comes time to write the monthly check.

Sincerely,
Liz
rbharris@netusa1.net

9/8/99 Joel Pace joelpace@juno.com
In response to questions about recital fees, I do charge a small fee for recitals to help cover the cost of the recital. My recital receptions are catered by a parent, however the cost of the cakes, cookies, flowers, etc. can be expensive. As someone mentioned, dance recitals are very expensive, and aren't we just as important. Also, I charge a flat monthly fee, however there are always exceptions to the rule---just use your judgement(dont' be so rigid that you don't look at exceptional circumstances) I am curious as to what month most teachers are having their recitals. Mine have always been in May until this year, it is going to be in october this year. WE will see how this works, seems kinda rough so far with school just getting started. thanks, please email me if you would like to share ideas.

9/22/99 Gina Major GinaMajor@aol.com
Typically the best way to get a student to practice, is to find each students button.

I have had students where the trick was to take them to a show and get them psyched about what could happen if they practiced. Another student who merely needed to use his./her voice on stage and feel important, to understand they could be somebody greater with practice. Sometimes just reminding a student that they are lucky to have parents that will pay for their lessons, a right which should be taken away if they will not practice. I have had extremely talented students that I have had to tell them flat out after trying everything else..."if you can not take ten minutes a day at least to show me that you care about this, then I do not wish to continue caring more than you". I know that I am lucky to be able to let a student walk, as I have a waiting list for my time...and I remind students that I will have to move the space to someone who really wants to use their talents. Usually with a really bad case of non-practice there will probably be an underlying reason...and you need to get to that reason. It could be they are just lazy, or you might find out you aren't motivating them enough or exciting them about music. I live by the motto that I would much rather have a mildly talented singer who has a great desire and attitude, than u have a student who is exceptionally talented with a lousy lazy attitude. I have proven time and again to myself that I can do more with great attitude than with great talent/lousy attitude. Sometimes, you have to willing to let a student walk. Personally I get bored and do not find it rewarding to teach someone who isn't into and doesn't care. But attitude can be cultivated if you find out what is her button.

9/29/99 Linda Akre ourweb@earthlink.net
In response to HOW YOUNG IS TOO YOUNG?

It is not necessarily the childs age of ability. The question should be directed toward the teacher's creative ability to provide a program that will work for the very young child. In an article titled "Your Childs Brain" by Sharon Begley, in Newsweek Feb. 19, 1996 tells that a childs musical learning window is from age 3 to 10. Physical limitations do keep young children from learning certian instruments such as flute until the fourth grade because of lungs and wind power. However, piano, guitar(of the right size) and voice are choice instruments for the young child. My experiences are that a three year old can recognize shapes of notes, sharps, clap rhythms like walking quarter notes and running eighths and count to four for a whole note. Their first concert of Beethoven's Ode to joy should be applauded. They can often already recognize ABCDEFG AND they love to sing while they play. One said earlier that they thought a program for young children was a waste. What are the expectations of such a program? As a parent of three and a music teacher myself, I believe that education could never be a waste. The experience can never be taken away. This is why it is so very important that a musical program for the very young place the emphasis on the child's enjoyment rather than perfomance.

9/29/99 EManfan@cs.com
If the student is enrolled in a public music choral program, the choral director could register the student in a state-level solo and ensemble festival. The idea of adjudicators' ratings would certainly motivate anyone to prepare.

Guitar lessons (learning chordal structures) are more fun when the guitarist sings!

Withhold allowance, phone, car priviledges.....

10/07/99 Elise Perea elisep_1999@yahoo.com
Hello, I am a very busy voice and piano teacher with an active studio of about 50 students. I have both suggestions and a request for more ideas. Regarding lesson policy, makeups and collection, I charge a month ahead and inquire if there are to be any known absences. If I have room for a make up, I will schedule it during this discussion. Other absences are not excused. I have begun charging a late fee of $5.00 per week that the student's monthly lesson check is overdue. If they have not paid by the third week, I collect the fees and drop them from my studio. I have noticed that in the two locations where I am charging the fee about 98% of my students now pay on time. I also began mailing invoices to these parents, which reminds them of the payment dates. Good Luck! ********

11/01/99 Milena Calegari calegam@ocps.k12.fl.us
Hello, I'd like some info on how to begin a small orcquestra or band in my elementary school. I play piano for 15 years, clarinet for 12, flute, violin, etc...and have people who would help me with other instruments. If anyone has any GOOD pointers, please email me because I would like to get this program started in January, if possible. My main concern is what I would begin teaching the students and how to help the students choose an instrument to play, since they don't have much experience with instruments. I already have my principal's OK, so now I just need some direction of where to begin this tremendous project! Any help is greatly appreciated.

11/5/99 Mike Houston mhouston@swbts.swbts.edu
My name is Mike Houston and I direct a youth choir at my church. There are several boys grades (8-11) who are having trouble finding their voices. Their voices are in different stages of changing. Does anyone have any suggestions to help them match pitch? Most are able to match pitch (with individual instruction) in the range of their speaking voice. I am trying to work with them individually or groups of two. Here is what I have tried:

1. Using tubes to direct the sound back to the ear.
2. Play a pitch on the piano. They will often sing a forth or fifth below it. I then go to the pitch that they are singing. We then move by half steps. This only works for a few notes and then it is time to start over.
3. I have them make siren, yahn sigh sounds and also have them sing high notes in falsetto and have them slide down.
4. I plan to use very well known songs like Happy Birthday, My Country 'tis of Thee etc, but have not yet.

I know that it is going to take a lot of individual work. Any suggestions, books and resources, and personal experiences including time frames would be greatly appreciated.

Thanks,
Mike Houston

11/5/99 Chip McDonald chipm@mindspring.com

Regarding teaching guitar to a blind person:

I have taught a few. You need to break the chords down into groups of fingers - chords playable with 2 fingers, 3, and 4, and the combinations thereof. Then try to be specific to the treble strings first, then the bass/wound strings. This way they learn little chunks at a time based on finger groupings.

11/6/99 Laura Stack lastack@juno.com
Milena--

I ran a band for two years at a small school. Many things went well, but eventually I found trying to run it after school led to many problems: kids being "excused" from band by parents because of birthday parties, etc; kids not joining because parents couldn't wait the hour with younger siblings; kids coming late (since it was an activity, not a "class" there were no consequences for this;) if kids didn't behave I couldn't send them out, as there were few adults around, and they just got into mischief in the hall.

My feeling is the first thing you need is good scheduling, during school. This will make all the difference. You not only need the principal's OK, but his, and the teachers', understanding and support of what is required of a successful band-- for instance, students might miss some class time.

Find a good series to teach basics (I was happy with Essential Elements) strongly encourage private lessons-- provide a list of teachers; stress the importance of daily practice; communicate regularly with parents about attendance, practice, expectations for concert attendance, etc; select music carefully-- Pepper Music's catalogue has things well-ordered by beginner, very easy, etc; be well-prepared with policies: what will be the consequence if your best musician routinely skips rehearsals, making everyone else re-rehearse what they already learned?

Have concerts arranged well in advance, and your music and rehearsal schedule laid out for the quarter-- know exactly what you want to accomplish, what you want them to learn each day, but also be prepared to back up or repeat if they didn't get it the first time-- or move faster if they get it right away.

Use exercises and warm-ups.

Teach the basic scales. Running a band is also expensive. Is the school giving you a budget? In my case, I charged the parents $12/month. This covered the purchase of a bass drum and cymbals and a little music. (My time was almost volunteer.) However, if you can build up a large band (you might consider opening it to homeschoolers or public school students without their own band, if your principal agrees), this could cover quite a bit more, and pay you something, too.

A final, personal preference. I had my students dress like professionals for their performances. I purchased black ties and cumberbunds for the boys, and required concert black for the girls. I taught them that professionalism is a matter of attitude, not just level of ability.

I hope this is some help. If you have questions, please e-mail me. I am currently back in school to become certified as a "real" band director, because the scheduling issue couldn't be resolved. I find education classes frustrating, and writing has reminded me of how much I loved directing a school band and why I'm putting myself through this!

Thank you!

11/8/99 Carolyn Melohawk@aol.com
Having taught privately for 41yrs (since I was 10yrs old) I can sympathize with those having trouble with attendance and regular payment. First, remember YOU, as the teacher, are in control in your studio. However you wish to be paid, and your policy regarding that, is YOUR decision.
Actually draw up a written policy of how you expect to be paid, how you run your studio and what you will do regarding absences, vacations, emergencies,.etc. Have this ready to hand out at the very first lesson the student attends. Then when problems occur you can simply say "Didn't you read my Lesson Policy?"
Weekly payment will always allow the student to control the payment. How can you have regular attendance if the lessons haven't been paid for in advance? INSIST on payment by the month at the very least. Tell them they are reserving their day and time in your schedule, what they do with it is their choice.
I find that only allowing 1 scheduled make up per absence and only if I was notified 24hrs in advance works pretty well. I have also had to tell my students that at times there are NO make up times available because my schedule has gotten too full. I expect them to pay for any scheduled times whether or not they were made up as I still have to pay the studio rent for that time. If they didn't call 24hrs in advance, there will be no make up and if they call at the end of the month they run the risk of running out of time for a make-up as I do not carry make ups over into the coming month.
Even with my business-like approach there are always those who think that they can play the game of not paying for an absence that wasn't made up....even if THEY were the ones who didn't come to the MAKE UP! Keep ACCURATE RECORDS.
Make sure your students know that you have a limit on how many times they can miss lessons because after that time they will be dropped from your schedule.
I've had every scheme in the book pulled on me to get out of paying for the lesson obligation they took on. By insisiting on my rights as a business person and being fair by bending the rules when it was correct to do so, my studio has remained my sole source of support for the last 30yrs.

11/29/99 Rocio Guitard brocioguitard@hotmail.com
I charge after every lesson. Some students prefer paying by the month, and that's OK, too. I also have the 24 hour standard cancellation policy, but everything happens verbally. If the student paid in advance but cancelled at least one day before the scheduled lesson, I will credit that payment towards the next lesson the student takes, with no limit on how many lessons they are "allowed" to cancel. If they cancel last minute I'll charge them for the lesson and ask them to mail me a check. It usually works, especially with the loyal students. Of course there are risks, especially in the beginning, but it's a "natural" way of selecting dedicated students. It took some time, but by now I have more than enough students, most of them loyal and dedicated. The fact I don't oblige them to anything makes working very enjoyable with those who are loyal by will.

Rocio Guitard
Speech Level Singing Instructor

12/6/99 Gene Nielsen genen@silcom.com
I'm a professional musician & piano teacher & I have a couple of differing viewpoints on some of your questions: First, how young is too young? The first, most basic concern (which no one seems to have addressed here) is ARE THE STUDENT'S HANDS BIG ENOUGH? When a kid's mother wants me to teach her kid piano, the first thing I do is look at the kid's hands. Can the kid reach an ovtace? If not, there's not much you can do till later. Secondly, the question of acoustic pianos vs keyboards. I've never found any REAL difference in the touch or response of a GOOD keyboard (not the discount store Casio-type cheapos) from an acoustic piano. As far as the tone quality is concerned, it's a matter of the SPEAKERS installed in your keyboard (again, a factor no one here seems to have addressed). I use a Roland EP-9, which is a full 88-key weighted keyboard. Its speakers suck, but I've added a couple of Boss monitors which improve the sound immensely. My teaching keyboard also has TWO earphone jacks so both teacher & student can plug in phones (which, incidentally, improve the sound quality right away) so that makes both teaching & practicing a lot easier in a small space. I used to own a Kawai 6-foot grand AND a Steinway upright, but I've settled on the Roland both for my own use and teaching. I also have a couple of the aforementioned cheapo keyboards around to take on private gigs where there's no piano. I take the little Boss monitors along and everything sounds great. Hope this helps.
Gene Nielsen

12/11/99 Paul Molley Molloymusic@aol.com
Carolyn:

Just a quick note to let you know how much I appreciated your comments on lesson attendance and payment policies.

I just opened my own guitar studio in my home in Eastern Long Island after several years of touring, Broadway and club dates. I'm at the stage where I need to put everything in writing and your comments really helped me focus and patch up some holes. Thank you.

Best regards,

Paul Molloy

12/20/99 Mimi Butler mimibutler@aol.com
"THE COMPLETE GUIDE TO RUNNING A PRIVATE MUSIC STUDIO"

Mimi Butler, past President of New Jersey ASTA with NSOA, has written a handbook called, "The Complete Guide To Running A Private Music Studio". This book will show you how to start a private music studio, choose a location, market the business, keep track of income and expenses for taxes, conduct an initial interview, schedule students, bill your students, schedule make-ups, write key and monthly letters, evaluate students, offer parent/teacher conferences, organize a recital, become a mentor or find one and answer important questions. For more information, flyers or workshop possibilities, contact Mimi Butler at 856-795-4285 or by e-mail at MimiButler@aol.com. Check out the WEB site at http://lightning.prohosting.com/~butler.

You may order a copy by sending $ 29.95 (includes shipping & handling) to Mimi Butler, 401 Beechwood Ave., Haddonfield, NJ 08033.

12/21/99 Jimmy Hudson Jimmy@guitar-dominion.com
What is the best way to advertise instruction in an affordable manner? Obviously I can't afford an ad in the yellow pages, because well I'm a musician. I have tried newspapers, but I spend a lot of money and I still don't get any hits from that. The best way I have gotten students in the past is by volunteering my time on the sales floor where I teach, but I am to booked up for that these days. I have offered an incentive program for my students. If they give me a refferal and the new student takes for two months I will give the reffering student ten dollars. I would love to give more, but teaching is my only income. Right now I have fourty two students. I have enough time slots to fill in another fourty or fifty. They are all half hour students except for maybe five or so. The word of mouth advertising is starting to kick in, but I am not getting as many as I was when I was on the sales floor. What methods have worked for you guys? What methods have failed? Another question that I have is that I am way under charging. I have kept a low price so that I could get more students, but now I am realizing that I have been charging way to low. I am currently charging 12.50 per half hour and the store keeps two fifty. I would like to raise my rates some, but I don't know what I should charge, and how do I go about raising everyones price? Should I keep the rate the same for my already established students and just charge the new ones extra or should I raise everyones rates and if so how do I break the news to them in a proffesional manner to where I don't lose any of them? Thank you for any advice you can offer.

1/11/00 Dawn Harings dhari120@uwsp.edu
RE: "How young is too young?"

Certainly this would depend on the individual student, but I live in a community where the Suzuki program is extremely active, and all the teachers here will teach students at three years old. There are many considerations to teaching such young children. Consider giving only a 20 minute lesson to avoid problems with attention span. Use games - lessons should be fun at this age. For piano, you must have a bench or a box which allows the student to have her feet flat on the floor - using the pedals can come later when she's big enough. Same with reaching an octave - use pieces that don't reach an octave. There's lots of repertoire out there that can be used with young children. Students who cannot read words yet do not need to read music either - find out some information on Suzuki programs and the Mother-Tongue approach, and perhaps attend a workshop on teaching Suzuki piano if you intend to teach students this young.

1/22/00 johnnyP bunny6969@aol.com
I'd like to respond to the three strikes idea. I am a student at Mississippi State University, in the Music Education department. I am not the brightest person in the world, but even I know that this approach to teaching is not only unproductive, it seems to me to be a waste of talent and time. We are all professional, but we are not in the art of teaching to grace these children with our expertise. It is our job and should be our honor to awaken talent and desire in young people. This girl is young and of course she doesn't practice much. A teenagers life is made up of the mall and parties. I don't condone or defend her behavior, but we are teachers because we passionately want to bring life to a childs talent. To pour out knowledge to them. If it doesn't sink in the first time it is our responsibility to go back and find some way to spark an equally passionate responce in that child, unless of course thier parents are forcing them to take lessons. Then of course the parents are waisting your time as well as the childs. We are simply channels through which knowlege flows, but we are charged as teachers to bring life to sleeping talent in ways that will bring passion for the arts as well as talented preformers. If you tell that child she must prove herself to you, then you have become a stumbling block to her growth musically. She looks up to you. We must lead by example as well as words. Teachers must respect their students as much as thier students respect them. You can't just force that respect. I suggest taking another approach. I like the idea of allowing her to experiment with popular music, or scheduling several preformances. we give these children thier confidence, we become the failure if that student throws their talent away.

1/30/00 dandy m.a.a.m@worldnet.att.net
I have just begun teaching my first voice student. She is six years old and I am having trouble keeping her attention during our music theory segment. Does anyone know where I can locate some fun but educational music theory games for her age?

2/3/00 Dawn H. dhari120@uwsp.edu
RE: theory games

You might want to check the Shar Music Catalog. I'm pretty sure the website is http://www.sharmusic.com

2/12/00 Robyn M. PIANOBLESSINGS@webtv.net
Hi everyone! I am enjoying the discussions seen here...about the discussion on charging recital fees...in past years I did not charge fees since I used my church - however, in the past 5 yrs. I have began charging $8.00 per student which covers the cost of utilities of church(so many people take this for granted!), and the tuning of the piano. It also helps with the custodian fees of cleaning of the church before and afterwards. In our times, we take other people's time too much for granted and somebody along the way has to pay for the use of recital facilities. Many of my parents don't mind paying for tickets for dance and voice recitals and since I give student trophies for performance at the recitals I don't offer refreshments any longer. It just becomes too time consuming on preparation. If I held small recitals for about 5 - 10 I would still consider offering refreshments afterwards. People are so busy this day and age, I have found that many do not even stay for the after time reception even when you offer it. When I have performance classes for just students, I offer refreshments - pizza and soda, etc. and it is well worth getting them to come to the class!

On payment policies: I found that a written studio policy given out to the parent at the interview time helps clarify any future tuition problems. Most of my payment problems come from transfer students that were "accustomed" to doing it like the other teacher did! And yes, I also charge a $5 late fee if the lessons have not been paid for by the beginning of the 2nd lesson that month. The weekly lesson payment fee just doesn't work for me and never has...I did that when I worked at teaching only parttime...bout 5 students actually. With 45students you have to have the organization for bookkeeping unless you don't mind paying an accountant to do that for you and I simply don't want to waste my time bookeeping when I could be playing or preparing lesson plans for my students. Thanks for a good topic of discussion...

2/12/00 Ethel pianopros@crosslink.net
RE: fun music theory games

Have you tried Music Mind Games? There is a manual with that title, and the game pieces come in three kits. Fun, stimulating, and very effective, accessible to even the youngest beginners. Designed for non-competitive group use, but some of them can be used individually as well; I had an adult student for example who could not understand scale structure until we sat on the floor with keyboard charts and bingo buttons -- somehow she could then "see" what she could not see while she was playing.

RE: keyboards vs. acoustic pianos

I'd rather play a "real" piano any day, but some of the PSO's (piano-shaped objects) our students practice on are unreal. It's common where I have taught to hear of pianos not being tuned or repaired for 30 years! Some of my best students, who had the best technique AND played most expressively, practiced on digital pianos. I myself have a Roland digital piano with headphones in my studio, in addition to two acoustic pianos. Digital pianos use a totally different technology from "keyboards," which use organ technology. I do not hesitate to accept students who have digital pianos. For some families, who would never sell their old pianos even if no one played them or tuned them for 50 years, the "sell value" of an acoustic piano is a moot point, and the real value in buying a digital instead is that it stays in tune without attention or cost. When I interview families who want to take "keyboard" lessons I make a few simple demonstrations for the parents. First I speak a sentence without increasing and decreasing the intensity of my voice, sounding like a robot. Then I play a phrase of a familiar folk song in the same robot manner, followed by the same phrase played expressively, and point out that on their keyboard they will only hear the first version. Then I add chords to the phrase, banged out as loud as the melody, followed by a "voiced" version with chords in the background, and again I point out that their keyboard will only do the first version. I also explain to them that my instruction includes expressive playing from the very beginning, as well as use of the damper pedal in the first few months of study, and that their child will be at quite a disadvantage if she is practicing on a keyboard. This usually gets the point across.

2/14/00 Beverly Manning first-fiddle@juno.com
I believe I asked this question before, but perhaps worded it incorrectly. What do private music teachers do besides teach? Do they work mornings and teach all afternoon and evening? How do they survive, because I am not. But find it hard to get a part time job for 4 hours a day x 4 days. Or should I just keep plugging along and try to survive this way? What do other teachers do?

2/15/00 Heather carterjh@valuelinx.net
I am going to start a voice lesson studio in March, I need lots of advice, Please Help. I haven't had a chance to read all the postings yet, but hope to find some helpful info. My plan is to teach all ages, I want to have a preschool group class. I am going through Kindermusik certification now. My biggest question is: What is the best material to use? Which method books are good for private voice students, and what is the best software to buy. Thanks for your time. HC

2/24/00 Karen KJWPiano@aol.com
I am planning to add a computer/MIDI lab to my studio in the next few months. I am having a hard time deciding whether to purchase a weighted key keyboard or a low-end digital piano to use with the computer. If I go with the keyboard, will my students and I miss the attached pedals? Does anyone have any recommendations?

2/24/00 Lisa flutiff@shore.intercom.net
I am taking a pedagogy class and would appreciate answers for some questions I am including in my study.What do you consider essential for practicing(setting, tools, overall amount of time and amount of time alloted for different materials being practiced during the session)? If you are a flute teacher what repetoire and what basics are essential for the flute student??

3/3/00 Connie Raddon PianoConne@aol.com
Beverly Manning - regarding how to survive financially

The key is marketing. I started teaching 18 years ago, and until about 3 years ago, I was still only making about $1,000 per month. (with a full load of students). I've attended marketing and business seminars (not piano teaching seminars) now I make $5,200 per month and only teach 12 hours per week. I have the capacity to earn about twice that. I need to take my own advice on marketing. My advice to you is raise your prices, make your lessons worth the new prices, and MARKET!

3/5/00 Pako pakowhannell@netscape.net br> I currently have 5 violin students, ages 2 1/2, 3, 5, 7, & 10 years old. I have been taught the Suzuki method and this is the method I am teaching. The parent of the 3 year old is having trouble keeping the child motivated to practice 10 - 15 minutes a day. It is a hit and miss. The parent is getting frustrated and we both do not want to force the young child to practice. Any Suggestions???

3/15/00 Kerensa kerensag@hotmail.com
Concerning keeping little ones focused... I have found that using a variety of games workes well for part of the lesson time... I do not spend money on games, but spend time with the children making their own music flash cards(the ones you buy have the answers on the back) and using them for memory game, go fish, and war. Many children already know how to play these games and mom and dad can play with them during practice time at home. As for "hit and miss" practice with the little violinist...I have had this problem also. I send my students home with their lesson taped, songs with words for the little ones, and they often work harder to be able to keep up while I sing with them. I also have used a merit method with some of my elementary students where they can earn points for each half hour of practice time. They earn little "prizes" and I have found that it works wonders and keeps a little competition going between those in the same schools and churches.

3/15/00 Kathy Reeves kidnotes@rapidnet.com
In regard to 3 year olds not wanting to practice:

At this age, practicing must be fun! Here's a few ideas I used with my own kids.

1. Leave the instrument out, to take advantage of teachable moments.
2. Make the time special--focus on your child, not what must be done.
3. Remember, you are the parent, and if you give in to whining, you will only get more whining. Practicing is like bedtime. Once your child knows they will do it, the battle will stop, and you can get on to the fun.
4. Start a 100 day club. Charts and stickers are loved by most 3 year olds. After 100 days, the habit is established, and the whining stops. Make sure you have a really good reward (ours is a pool party)
5. Let the teacher be the "bad guy". During lesson, specifically instruct the parent about what should be practiced, that way the parent can "blame" you for the hard work! (This worked wonders with my 6 year old this fall.)
6. If the issue is Twinkles or "baby songs", we use popsicle sticks with the names of the songs and draw, and I made up a sundae game that we use to build our dessert with. There's a bowl, scoops, toppings, etc. all with the different things that must be done in practice time.
7. Be aware of how the child learns best, by listening, doing, or watching. Make sure their favorite learning style is incorporated into practice time.
8. Finally, pracitice at the same time, and be aware that if the parent is working full time, they may be trying to practice too late in the day.

3/24/00 Tena tdlanders@hotmail.com
In response to how to make a living, my problem is that I live in a rural area where piano teachers have never charged more than $7.50 per lesson. I increased my rate to $8.75 per lesson this year, or $35.00 per month, and I charge the highest rate in town. I definitely feel underpaid, especially seeing what other piano teachers make. In order to make a decent living, I also work as a teacher's aide. That makes for a long day, being at school from 8-3:30 and then giving piano lessons from 4-7.

3/24/00 James Renwick J.Renwick@student.unsw.edu.au
Does anybody know how I could obtain cheap software/hardware that allows my students to manipulate the speed at which play-along CDs are reproduced through a computer's CD-ROM drive. In the old days of tape, of course, we couldn't change speed without changing pitch, but I believe this is simple to achieve with digital recordings. Any help gratefully accepted.

3/27/00 Melissa VanHofwegen pianotrek@att.net
For those trying to "Make It" - Been there, still doing that! It is key to charge what your worth, and make sure your worth what your'e charging! Try group lessons for beginners. With minimal investment, you can cut out repitious beginner lessons, and make more per hour.

For the teacher stepping into technology: Last year I was teaching off my 100 year old family piano, with 12 students. In May, I did the Clavinova festival through Yamaha and then purchased the digital piano they loaned me. I changed my house around to have a private area of my house for lessons. I am using an older computer for music programs and games. I purchased another keyboard and won another from the WWW.IAEKM.ORG site. (lots of info for those who are just getting into the digital world, too) I now have 27 students, give group lessons, Make 3 times what I did, and VERRY much enjoy teaching now! search the web for all tech tips you can find!

4/5/00 Meredith Cooper meredithcooper@looksmart.com
My private lessons tend to go over the time that the student is paying me for (and that we agreed on). We just end up chatting at the end, and as a result unless I have a lesson directly afterwards, it runs into my free time and feel run down. Any suggestions?

4/6/00 Kathryn bigbones@mediaone.net
Here is a question I cannot find the answer to. Can someone enlighten me? I live in Los Angeles. Do I need a Business lisence to operate a private studio out of my home? (Voice and Guitar Lessons) Business lisence means a ficticious name filed with the city, etc. Also, IS IT LEGAL to teach out of my apt.? I've been doing it but I still don't know the answer after calling the small business association, the City of L.A., etc. I wan't to be legitimate but they make it hard to get the info on how to do so. Does every one out there have a separate bank account for their private lesson studio? What are ya'll doing about a business license or permit to operate out of your home? I'd appreciate any feedback. Thanks

4/7/00 Robyn M. PIANOBLESSINGS@webtv.net
Kathryn - about business license. Find out what the zoning is in your area. I pay city taxes and live in the county and just this year our county began requiring all businesses in the county to have a license. I am very thankful because it gives you additional credibility but does make you accountable! I obtained a city business license when I taught private lessons at a Christian school in town. We have so many "riff-raff" businesses in our area it will crack down on the imposters! I live in a tourist area!

4/7/00 Robyn M. PIANOBLESSINGS@webtv.net
Meredith have you thought about changing your "chatting time" to the beginning of the lesson? I do that to put the student into the "right" attitude! It lets the student know I care about how their week is going and determines their practice time for that week, etc. Then we get down to business and get that lesson going! I find myself running out of time whenever I have 35 min. lesson plans that I'm trying to get into 30 min. "WELL" I say - there is next week! And say hello to the next student! Good luck!

4/18/00 Chenoa csykes75@hotmail.com
I am opening up a new violin studio and would like advice on teaching ear training. I offer ear training as a private session. Are there any recommended books, CDs, and/or other material I can use? I saw on the internet an ear training course by the Royal Conservatory as an interesting option. Any advice would be helpful. THANKS!!!

4/19/00 Lee Strawn Lee_Strawn@mindspring.com
Re: Boys changing voices: I teach adult singers, so I don't have much specific info to give you. BUT I wanted to encourage you to keep searching for answers!

At least twice a year I meet adult guys who believe they are "tone deaf". After I get them talking they usually relate a story of when their own voices were changing and some BOZO teacher told them they couldn't sing! And if those few men actually have the gumption to come forward & see if they CAN do something that has been denied them for a decade or more, just think how many more are out there believing that it's impossible for them to do the simple natural act of singing.

I'd encourage you to look at membership in NATS (NATS.org). there ARE some good books out there. One technique I remember from methods is: talking to the whole class about the physiological process the boys will be going through & then making a big wall chart of who's voice has started to change, what notes they're able to sing, etc. In this way demystifying the whole thing & getting it out in the open - removing the shame & embarrassment.

Good luck!

4/22/00 Mimi Butler mimibutler@aol.com
The England based International String Instrument magazine, "The Strad" has just reviewed "The Complete Guide to Running a Private Music Studio".

This book represents something that many of us have thought to do but few have accomplished. Mimi Butler, a former president of the New Jersey Chapter of the American String Teachers Association who has led many workshops to assist teachers, has now produced this straightforward, spiral-bound handbook so that others may benefit from her experience. It covers all the basic practicalities of how to attract pupils and run a small business in a constructive scenario, from the initial search for a suitable studio to eventually becoming a mentor. I was particularly impressed with the checklists in many sections (even down to the waste bin and tissues!) and the methodical way that fee payments are organised, with helpful suggestions for cultivating a businesslike approach. My reservations concern some of the criteria given for evaluating students. For instance 'elbow towards the music' conjures up a wealth of possibilities for obscure body positions that could cause physical problems. In fairness the author does say in the introduction that you 'must make adjustments to fit your own needs'. Used in that way, it is a guide that every teacher will find helpful. -Penny Stirling

Don't forget to check out the WEB site (http://lightning.prohosting.com/~butler), e-mail me or call me at 856-795-4285. If you'd like me to do a workshop in your town or institution, you can contact me in one of these ways.

5/1/00 Paul Molloy pmolloy@erols.com
Does anyone have any advice regarding the legal aspects of running a studio from one's home? i.e.--what sort of insurance policy one should have (umbrella or otherwise), fire code info, who's responsible for students who are dropped off, the signing of release forms etc? I'd love to hear what other teachers have done in this area.

5/7/00 Chip McDonald chipm@mindspring.com
>3/3/00 Connie Raddon PianoConne@aol.com
>wrote: The key is marketing.

Care to share some of these marketing ideas?

5/13/00 Paula Penna mmlessons@home.com
Regarding giving lessons at home, and resulting issues: Up until a week ago, when I opened up my Academy, I have been teaching privately from my home. I had renovated an extra bedroom for the purpose. For insurance, I had a "home office" rider with liability included attached to my regular home-owner's insurance. I strongly suggest using a formal "Studio Policy", given to each student at an initial interview, which clearly outlines your policy for dropping off/picking up children. In mine, I stated that I am not responsible for the students while they are not taking a lesson, and parents are encouraged to wait in my living room. Parents must sign this agreement before I will begin lessons. Hope it helps!

5/18/00 Tammy gonecoastal@thegrid.net
I'm curious as to whether my lesson rates are competitive or not. If you would like to respond, how about just saying what state you live in (or big city) and how much you charge per month?

5/19/00 Robyn M. PIANOBLESSINGS@webtv.net
Help! Anyone ever have to cancel a spring recital before? I am having some conflicts in my family the last two wks. - very serious conflicts and have had to cancel all student lessons for the past 10 days!
I am at a loss....I've never been put in this position before in the 17 yrs. I've been teaching and I would dearly love to host the recital...I feel that the students will not be prepared and (of course) parents will be displeased at their performances!
Any input? Please feel free to email me about solutions! Thank you...

6/9/00 Meg Masaki MMasaki@gmx.net
I need samples of Studio Policies regarding payment, make-up lessons, etc.

Thank you!!

6/12/00 Blake Leopold Leopold@musician.org
I am looking for any type of program or software that is made specifically or can be adapted for use in a private studio. I know there was a company that offered such a product but have since discontinued it.

6/23/00 Jennifer Lynn Kaufmann mozart424@aol.com
I am a private flute teacher who wants a program on the computer to write music for my students just in treble cleff. Like scales and single line music for just flute. Help I need a program right away. Thank you

6/24/00 Kira Plettser kirasmusicstudio@hotmail.com
Re: Boys' voices.
My first and only advice is this: do not work with the boys who are 12-16 years old since they are in their puberty period without first consulting the phoniater(M.D. for the voice). Their vocal chords must be checked to make sure they are healthy and repeat such check every 3 months during this period. If there are any problems - they should stop singing altogether immediately to avoid permanent damage to the voice. If his vocal chords are healthy, you have to follow certain rules: range of singing shouldn't be more than one octave in the medium register, excluding high and low sounds. Dynamics can be only mp-mf, excluding contrasts. The repertoire for such voices is really scarce, so you will have to rearrange existing music keeping in mind voices you are working with. I work with singers and choruses for more than 40 years: look at my teacher profile and, please, don't hesitate to ask if you have other questions.

7/6/00 Julie Wilson jwstudio@nni.com
I am searching for any marketing techniques for getting more students.

7/7/00 Robyn M. PIANOBLESSINGS@webtv.net
Hello everyone! It's great to be back in the discussion! I haven't been able to get a post since 5/19...
Anyway for Tammy, email me privately and I'll make suggestions as to rates for you.
Julie, I have dozens of marketing tips for you...and Meg some policies have worked for me some have not --- but the bottom line is they are a necessity! in this business of privately studio teaching when you're independent.
I can share different policies I've used over the years and what seems to have worked and what's not.
After last posting, I managed to get through the recital--many of my parents assisted me in the "ordeal". I was so sick (I had a mini stroke) and simply had difficulty managing from day to day. But I have loyal families and that makes all the difference if they wish to see their child's recital not postponed.
Good to hear from any of you.

7/9/00 myramac myramac@rcn.com
Hello! from Worcester, MA!!
I'm interested in the best bookkeeping software for teachers in home studios. It's really nice to find this resource- great ideas for setting up policies..
m

7/14/00 Robyn PIANOBLESSINGS@webtv.net
To Julie: there are so many ways to market for new students. Start with your present students by letting their parents and students know you are accepting new (AND IF you do transfer) students during such and such month.
Invite your students' friends to their lessons to sit in and ask them questions as to whether they would be interested in taking also. Generating a form letter to all music teachers at area public schools and private is a good way to market yourself.
Many music teachers need subs that are music affiliated to help them when they have to be out of school or just to help with special projects like a play.
When the teachers return to school they'll have your letter ready to be thinking about students in their music classes that may have interest. Many teachers in schools now receive grants to conduct a basic 8 wk. keyboard class and students generate interest this way.
So they will have your name to contact initially! more later!
Good luck

7/18/00 Anne Grennan agrennan@eircom.net
Hello there
I am delighted to have stumbled onto this site. I have been teaching music here in my home town (in a boy's secondary school,which is in Ireland) for the past 25 years, mainly violin, 2nd instrument piano, and I work with chldren's choirs and a chamber choir 24 SATB. I see that teachers overseas encounter the very same problems as we do here.

7/22/00 Brenda Carol bcarol@canada.com
In response to how to get a 16 year old vocal student to practice - teach them how to practice. Practice and the love of practice comes through learning and development. Also give the student very familiar material and some sight-singing material they have never seen or heard before. Here you can really see where the student is working. In addition, give the student theory homework and if nothing else, at least they are gaining musical skills somehow.- Vocal teacher in Canada.

8/11/00 LisaRae Vaughan lisaraevaughan@hotmail.com
Great feedback on this board! I'd like to toss out a question to the community at large regarding how to "grow" one's private teaching business. I'm an established piano/flute instructor with a formal studio policy, advertising & informational materials, strong student base, and a niche market (visually, auditory, physically, mentally challenged children & adults). Teaching is conducted through two local music stores and in student homes. Some new student referrals are from unsolicited inquiries at the stores while the remainders are through current students and my own advertising.

The problem - if it can be so called - is that I have too many referrals and a limited number of hours per day. Teachers, particularly qualified piano instructors, are in demand and I recognize the lost income potential from having to turn away or "wait list" so many of them. Has anyone else successfully expanded their teaching beyond that of being a single, independent instructor or been part of such an organization? How do dance studios with many instructors for instance or medical buildings with coordinated practitioners operate? If you were an instructor looking for more students, what would you need?

As I see it, I can either maximize my income while minimizing my expenses or restructure the business. I've considered:

1) Eliminating the store rental charges by opening a studio in part of a home I own. However, the home is not nearly as local to the students as are the stores, and the other owner would most likely be inconvenienced.

2) Renting a storefront or even buying a building and charging rental fees (generally 20% of lesson price) to other independent instructors who teach there. However, one store I teach at says that room rental fees constitute only 5% of their income. Having worked similar numbers myself using local building rental fees and the number of valid teaching hours per week per instructor leads me to the conclusion that it would be a break even situation. I'm also concerned that teaching quality/policies/prices would not be consistent amongst the staff.

3) Renting/buying a building and hiring instructors. Although I could control quality/policies/prices, I'd have the added hassle of employees and all that goes with that.

4) Offering a local referral service to connect teachers with students in low expense situations (at local schools, in churches, or the student homes). Each instructor would be charged a one time per head fee for each successful referral or the students would pay me directly for the service, and I'd pay the instructors. This would be modeled after the "handyman" or cleaning services where qualified service providers are sent to your location to provide a service. But how do you prevent the service provider from circumventing the process and offering the service directly to the student?

TNX for all input.

9/23/00 Avan Hwsthtagn@aol.com
I have been directing a small church choir for the past 5 years. Recently I was approached by one of my vocalists who requested I give him voice lessons. While I have some idea of the ground I'd like to cover with him initially, I would be grateful for any advice you can offer regarding developing a lesson plan for him. He is basically a beginner with some reading ability. Thanks to all who respond!

9/24/00 Robyn PIANOBLESSINGS@webtv.net
Talk about motivation! I just received a call from a former student that "minored" in music while in college (her major was accounting). She is beginning to teach piano---what a joy!
And to see the making a difference aspect in her life for piano----it is overwhelming!
She has asked for mentoring and we are attending the June Montgomery clinic for Alfred this coming week. Blessings to all, this site has been quiet lately.

10/28/00 Nichole nbundy@cornerstone.com
Hello! I am a junior in college and I am starting to get into teaching voice and trumpet lessons. What are some begining books that are good for begining voice students and what is the best literature out their for these two instruments:) HELP!

11/3/00 Kathy kathyf@ici.net
Can someone please give me some advise on how to help a 10 year old who just had braces put on her teeth to be able to practice her flute. She's been playing for one month and now is at a standstill...

11/5/00 Dorinda Dercar dorindatap@juno.com
I find scheduling recitals is the best way to get any student to practice. I try to make the recitals fun (at Halloween, we did many novelty songs, and related holiday pieces), also, including a sibling or friend in a piece adds a reason for them to practice. Teens respond so readily to their social lives, I'v stopped fighting it and joined in the cause. Nothing like inviting a boyfriend to a lesson, or having a friend act as stage mgr., or asking the student to invite another musician-friend to join them in a duet. Sometimes that's the only way I can get results with those persnickety teens.
Last summer, I organized a sight-singing class for females of high school age with some background in reading music. Each participant seemed to have a friend who needed the course, and I filled it. Another ploy I use is to send the student music shopping for something of their interest to add to the repertoire. Then I tire them out on it so they're ready to practice my lesson requirements again....usually works. I also try to keep a sense of humor, and send them home laughing over the fact that they "almost" got it. Maybe I'll open the sticker drawer and say "You're never too old for stickers. When you have this memorized, you will be allowed to choose a sticker from this drawer, so PRACTICE this week, please." If there is improvement, I give them the best sticker I can find, and make a fun time out of it.
Good luck!

11/24/00 Scott Morris youcanplayguitar@scottsmail.com
Make Up Lessons
I am a rock/blues/metal/country/jazz/classical (you name it) guitarist, worldwide known teacher, who's been teaching for 19 years. I was shocked after reading this column to see how many of you dedicated teachers are worried about make up lessons as you're loosing time and money. However, dont feel bad. I once struggled the same way. It's really quite simple. There are no make up lessons. If a student misses his or her scheduled appointment, is that your fault? And just how many excuses are acceptable? And doesn't it get old? Trust me. Weed thru the ones who dont care. They're too busy enjoying their life, and skipping lessons, not to mention, not practicing, while in the meantime, your losing money that you may count on as teaching music is your job, not to mention loosing time, which you could devote to your family, your band,or treating yourself to something fun or productive. Like finding a new student, to replace the one(s) who constantly miss. Not to mention it's not fair for your 4:00 student to have to wait until 5:00 to recieve thier lesson, because you have to give a make up. Which always means another phone call, or playing phone tag with an answering machine. Not to mention the possibility of 2 students showing when you only expect one, and you find yourself double booked and another hour behind, once again losing your time and your money. Trust me. If you are a good enough teacher, you haven't much to worry about. Drop out the no-shows, raise your prices and keep a few good students. You'll find yourself spending less time, making more money, and actually giving better lessons as you'll be less stressed and less angered!
If you have any questions or comments, feel free to e-mail me. I'm currently still teaching and playing in my band ChatterBox. Finally at age 39 we have been picked up by a talent scout and financial sponsor. We are in process of making our first CD. I will however answer all questions or comments in the order which they are recieved. You can e-mail me at youcanplayguitar@scottsmail.com and you can check out my band ChatterBox and go to my lesson page and read about my teaching skills which were top rated by Billboard Magazine, as you check out a free sample lesson! e-mail chatterboxrox.homestead.com/band.html
Good Luck in the music Biz!!!!

12/4/00 Emily burningviolin@hotmail.com
This is a great site! I hope that some here will be willing to advise a novice teacher. I have played the violin for almost thirty years (began with the Suzuki method when I was three), and studied piano for many years, but I have had no formal training as a teacher. I have just agreed to teach two adults the violin (neither one reads music) and am thrilled by the idea of sharing with them, and hopefully more to follow, my knowledge and love of music. I am also nervous as can be. If I'm going to teach, I want to teach with excellence. I believe I have the passion and the basic skills to be a good teacher, but lack experience. If anyone can offer suggestions or resources re: methods, particular books, (even just where to begin!) I would be most grateful. Thank you.

1/20/01 Mark Searle mark.searle@bigfoot.com
In response to the 3 strikes and you're out idea - one of the most valuable pieces of advice I have ever been given as a music teacher was that the first duty of a teacher is to "create enthusiasm for the subject".If this is achieved and maintained then the struggle is eliminated. Enthusiasm is infectious and addictive and if it is flagging in the pupil - maybe it is because it is flagging in the teacher? Creating enthusiasm is surely what the whole game is about.

1/23/01 mermaidnirvana@netscape.net
Hi everyone, I am a college flutist who will graduate this year in June. I have to say I have been with a great many teachers having moved a few times and through it all, searching for good teachers. I would like to give some feedback on what it has been like for me as a dedicated musician. The teachers I enjoyed were the ones who loved music, wanted to teach that love to me, and took the time to try new things with me. One teacher inspired me with putting on CD's of the masters, and originally allowing me to pick whatever music spoke to me. Never forget that music is FUN!! If a student is coming to you for lessons, chances are they want to learn. I agree that it is the teacher's job to inspire the student, just as it is the student's job to want to learn. You need this balance, or the relationship is no good.

Also, many teachers I have noticed tend to teach the same way with all their students. This is not good! Everyone is different, and has a different thing that inspires them, not to mention a different learning style. This is a very important challenge for a teacher to undertake, and it needs work. Some of the great musicians that teach masterclasses teach in this one sided manner. The same thing gets boring, and it may not be working for that student's learning style. Find out what is working with your students and what is not. Often, I need demonstrations of what that teacher wants, instead of just words. I also think that most teachers knew what my strengths and weaknesses were, but only one teacher actually took the time to work with me on my weaknesses, and to radiate my strengths. Make sure you work with your flute students isolating things such as rhythm, musicality, phrasing, ect. Do these things outside of music first so that they get learned.

Also, positive feedback is best initially. If you ask a student to play a passage in front of you, or listen to that student's recital, for goodness sakes, say what is good first. Then give constructive criticisms. My collegues agree that an initial positive response is best. If you feel like it really was a horrible performance, try to find the good in it, or in that student to support them through their troubles. Getting in front of anybody to play something is nerve-racking especially for beginners. Allow off-days to happen every now and again, as I'm sure they happen for you, too! Never start with negative feedback, this encourages feelings of why-did-I-bother, worthlesslness, and self esteem, not to mention, heightened anxiety the next time this student performs under pressure. I realized that there is very little training for music performance majors to teach privately. It seems like most teachers started teaching before they gave the actual practice of teaching much thought. I think you need to think back as a student to what you enjoyed about music and seek to bring that joy to your students. I have seen some of the leading world flutists be very encouraging, and some be very rude. Be careful and realize that a student studying professionally is serious and does want to learn and give them the gift of music and show them that you feel joy. If you do not feel this joy (as I have been told by some teachers) do not bother teaching!

Also, do not make payment such a huge issue. I took a lesson from a very amazingly professional flutist in Seattle who charged an extremely low fee, for how good and respected she was. This made me feel like she wanted to teach me from the start. I do not come from a money-rich background, but love to play, and there are very few teachers out there that consider this.

1/24/01 JHeetland calandaz@aol.com
I agree with the importance of "positive feedback first." I am an elementary teacher/music ed. teacher and have taught piano for 20 years now. What I really want to share with you is the idea of teaching in groups. I started teaching this way with a Yamaha setup about 7 years ago. It has proven to be a GREAT way to teach beginners: they love it, learn much faster and have more fun! A little competition (handled carefully by the teacher, of course) is a healthy thing. I have them come for hour lessons and sometimes we spend only 15 to 20 minutes of that time at the pianos. Sometimes we play "out loud", together and sometimes they have their headsets on and I roam through the system to work with them. The point is, there are many great resources out there to help you teach in this manner. One of the basic books I started with is Music Mind Games. From there, you can get creative and come up with lots of things to enhance your teaching. I'm always browsing the music stores for more ideas. Most people learn tactically and visually. You have to learn how to break music down to it's smallest components and then teach through the senses. That's the way people learn best!

I thought my fees were ample, but when I read about the teacher who teaches 12 hours/week and makes 50,000+....WOW! What are you doing? Please tell us!

I am currently trying to put together a web-site of piano teaching ideas. Does anyone out there know of another website with that same focus that may already be out there?

I love this site. Let's keep the communication flowing!

3/1/01 Carissa cthorne@homestead.com
I have a question for anyone who has had experience working in a studio. I have been teaching private voice out of my home for the past year, and I have been offered a position teaching in a new studio opening up in April teaching voice and piano, paid by the hour (not independently getting paid from the students). My question is: What can/should I expect as far as getting paid? If I have a student at, say, 3:00 for a half hour and another one at 4:00, but nothing in between, should I be getting paid for the time I'm not teaching in between students?

Also, what if a student cancels and has to come on another day? Should I be getting paid my hourly rate for that time as well, even though I was possibly already paid for the time the student should have been coming? Should I be required to come in on another non-teaching day for students who've cancelled?

Also, who pays for my books/teaching materials? Should I be expected to have my own? I would like to know the answers to these questions beforehand so when they contact me and give me the details, I will know if I'm getting taken advantage of or if it's standard policy. Also, out of curiousity, what kind of pay should I be expecting? What they're offering me is about 1/3 what I make doing lessons privately, assuming I'm teaching the whole time I'm in the studio. But I can't get enough students in my area to make it my full-time occupation. Anyway, any thoughts are appreciated.

3/6/01 Lisa Martin aslsm13@uaa.alaska.edu
I am trying to compose a contract for my violin studio put I am unsure how to word the contract. If anyone has any copies of their contarts that they would be willing to send to me it would be much appreciated.
Thanks
Lisa

3/17/01 Jill Kronstein kronstein@home.com
I have been teaching violin privately for just a few months now, and will soon be holding our first recital. I have 7 students from 3-13 yrs. old. How do I know what the best order is for the children to play? Should the least experienced play first? Also, I have a student who's been playing for 2 years, yet can't play any piece without all the fingerings written. What to do?

3/22/01 Roberta bande5@home.com
I am enjoying teaching piano to adult students now after 34 years of public school music teaching...What a joy to have people who want to be there and will practice without a hassle. It is the "I have always wanted to do it" situation and how nice it is.

I teach in my home and I am wondering how prices here in Florida compare with others....$12 per half hour to $20 per hour....Are we nuts or overcharging?

3/26/01 Natasha emphasis@vegacom.on.ca
Re: Carissa

Carissa, I have worked in a music school setting before and the reason I left was because of all my wasted time in between lessons. Sometimes I found myself sitting around for an hour in between students, and then another 1/2 hour after that. I did not get paid for this time. Also, the school had told me when I started that I would get paid for cancelled lessons if the student didn't give 24 hours notice, this wasn't the case. Many times I would get there on time only to find out my first scheduled student had cancelled under 'special circumstances' and I would have to provide a make-up lesson and would also not get paid for the missed lesson.

I'm not saying all music schools are like that, I'm just telling you to beware and be informed before you take on this position. Make sure that all the in's and out's are worked out beforehand and written down on a contract if at all possible.

I'm only just getting back into teaching. I'm taking the BIG STEP to quit my day job of the last four years and teach privately out of my house so that I can devote more time to my music, recording and performing. I've only just put up fliers around town and will have an ad running in the local paper starting next week. I'm keeping my fingers crossed that the students will start calling soon!

To everyone who is scared about taking the plunge into teaching, I say just do it! I don't have any degree, just many years of singing lessons, performing and professionally recording. I didn't know that I could teach until I tried it! And it turned out that I was a pretty good teacher :-)

Cheers
Natasha

3/26/01 Jamie Wagers JamieWagersDrum@cs.com
How do you get started? How do you get students, and how do you get around all the older more expereinced teachers?

5/31/01 Eleonor England eengland@onebox.com
Hi. I was perusing this board for some specific info which apparently I'm too stupid to locate, but I read a lot of the postings and have several comments for the people who posted (for what they are worth (the comments, not the people)).

* Per hour. Here in San Francisco, it runs the gamut. I think the most expensive I have seen is $40/half hour and the least is $10/hour. Shudder. I charge $35/half hour but if they more than half an hour, I cut them a deal so they can get enough time in to really *get* the concepts and money isn't an issue. I also do sliding scale, but the sliding scale people hafta come in during "off-peak" hours so that the peak hours can bring in the normal amount of money. I consider the sliding scale a donation & also do work-study which is great cause I have a secretary and someone cleans my house, etc. It rules. On average, I pull in $50/hr inclusive of the donations. And working with sliding scale and work-study people is great because they are the most serious ones in a lot of cases.

* With the chit-chatter. I'm a young woman, so I get a lot of male students hitting on me after the lessons. Whatcha do is schedule these people early in your schedule and put someone *right* in back of them. If they request a late appointment, say it's not available. THe last student of the day should either be A-boring or B-someone where you don't mind if they hang out a bit.

* To the lady who is concerned about turning away students. Yeah, that sucks - I hate that. What might make it work a little better with regard to being able to take people is to have a base of operations. If you are concerned about the location of your students being far from your home studio, make it a different location from time to time. Like, wednesdays, teach downtown at the public studios for $8/hr or whatever, Thursdays, at home, fridays at the music store in the burbs, etc. That way you minimize your travelling time - you travel once per day and you can take students when you'd normally be travelling from place to place. If you have a student who can't leave the house, obviously this is a special consideration, but I bet most of the students would be fine with this. It's possible your rates aren't competitve also, so you might want to look into that and raise them for any new students you take.

* I recently interviewed a bunch of people to assistant teach at my place cause I could frankly use the help and it was *so* discouraging. Like, no one really cared about the students or teaching - it was just a day job. I had such a bad experience and I didn't even *hire* anyone!

7/18/01 Lisa glbrookins@nefcom.net
JHEETLAND. I agree! I LOVE teaching class piano, for the very reasons you named up there in your post. And really? It seems that time goes so much faster. Nothing is more dreary to me than trying to get through a molasses-soaked hour with a student who just isn't getting it. It's easier on the teacher, more fun for the students, even shy students eventually ease into the fun of it. And, as mentioned with a slight competative air? Practice at home is handled a little better.

I LOVE this board, I'm so glad I stumbled acrossed it :o)

7/29/01 Jamie Jacobson jmee2@hotmail.com
I have taught private voice in a small town for a little over a year now and am about to move to Boise, Idaho in order to get my Master's degree in vocal pedagogy. My question is in regards to price and location. I have a place of my own about 3 blocks from the campus and I was planning on opening my studio there and having students come to me. Will I still have any students? Should I give the option to travel to them or will that just mean that I will be doing a lot of traveling? Also, about price, in my small town, I was charging $20 an hour, taught 10 hours a week and had to turn some students away due to time restrictions. I was planning to raise my price in Boise to $30 an hour. Is there anyone from the surrounding area that could give me a heads up?

Next... piano players. I play the piano, however, not as well as my students need me to. I also feel that my job is to listen and instruct, not to play. So, do I charge the extra $15 per hour for the pianist? Only have them come in twice a month? Compromise a raise in my prices so that I make less, but the students don't pay the full amount for the pianist? Any suggestions you have would be great. I am relatively new to this private teaching thing, but LOVE it! So much that I have decided that will be my life's work. Please give any suggestions you may have to help make my studio a success! Thanks all!
Jamie

8/2/01 Lewis Moore lewism@charter-it.com
I use the vocal coach cd's with my private voice students. By using these warm up cd's I can concentrate on my student's voice rather than on the piano.

I have a question. I have a vocal student that has a pretty voice, but it is so soft that you can hardly hear it... How can I get her to sing out?

8/9/01 Robert Rimes robert.j.rimes1@jsc.nasa.gov
Do not take my advice too seriously, I am a studio musician who works with professional singers. I can't get a professional singer to sing, giving them money, much less practice. You have a big challenge getting a 16 year old voice student to practice.

(1)
What if you had the voice student obtain their favorite songs from the radio (usually junk), have them sing or practice that stuff?

(2)
What if you offer some sort of reward for each LEVEL or each TASK they must accomplish. Offer them time off from singing. A 16 year old does not have the motivation to practice, offer them a small vacation (from singing) if they perform or do really well?

(3)
What if you change the environment they practice in, change the surroundings, change the room, change the EVERYTHING, it's like working at another job or visiting another place?

(4)
What if you had someone they LIKED, or someone they ADMIRED in the same room. Have them bring their girlfriend or boyfriend, or someone they really look up to for a practice or two. They will want to make a good impression. You could have gust visitors listen to their practice or vocal presentation, have this person some BIG-WIG, they will want to impress them?

(5)
I'll keep thinking, I did poorly in school. I started my college career twice after failing out of a major university. It took me 9 years to get a Bachelors degree in Computer Science. I had to do everything on my own the second time. I know how difficult things can be if a student does not have any DRIVE.

Robert Rimes

10/1/2001 Elizabeth jvbootz@aol.com
I am a fourth grader and would like to know what it would take for me to become a music teacher at an elementary school when I grow up. Thank you in advance for your help.

10/21/2001 D PianoDSJ@aol.com
Regarding how to get your voice student to practice...I always give them a performance goal to work for, i.e., recital (at least two per year), talent show at school, at church. I am certain that even if the recital is not coming up soon, we have a certain goal of some other performance date.

10/29/2001 S. Brown goldenvoicestudio@hotmail.com
A) "The non-practicing 16 year old"
If you can find a singer locally that the student likes, try to get them in contact (a dinner meeting) where they can share their love of singing and hopefully the admired singer will have been prompted by you about practicing. Even if she loves singing, it's hard to find the motivation to practice all the time. AND/OR Try to get her to go to concerts, musicals, operas or get involved in one so that she has peer pressure form the rest of the cast to practice!!!

B) "the singer who sings quietly"
Try to get your student to sing in a more speechlike tone. Using the diaphragm for support, have her (support and speak loudly) "Hey!" and other interjections. Then have her sing in that speech zone. Other things that I have found that tend to work...
Pretend to offer her 10 tickets to see her favorite band/singer. She'll get 10 backstage passes, dinner with the group/singer, and limo ride to and from the performance. Using whatever excercise you choose, have her "relay this amazing information to her best friend either as a phone conversation or in person." Make sure that she has a focus point(s) where she is to keep her eyes.
Please let me know if that helps.

11/2/2001 Rebeca Pang rebecapang@hotmail.com
This comment is regarding the 16 year old voice student who has a beautiful, but very soft voice (dated 08/01). I highly recommend you read the book "The Art of Practicing: A Guide to Making Music from the Heart" by Madeline Bruser. The book touches on everything from muscular tension, awareness of the vocal cords, emotions, and simplicity for the full release of the music. It covers most all musical instruments (piano, strings, woodwinds, voice). The book has certainly helped explain why some musicians have the ability to play/sing a song and causing deep emotional catharsis, whereas others play the same song, sounding robotic.

11/2/2001 Diane Tootflute@aol.com
I'm a fairly new private flute and clarinet teacher. I've been teaching beginners (mostly 5th and 6th grade students) who just started on the instruments. I've been successful in keeping these students motivated and get excited when they produce a clear sound on the instrument. If any of you experienced teachers out there can give me suggestions on how to use my half hour time with beginners, I would appreciate the advice. I'm glad I found this site and will come here often.

11/5/2001 Matt Casanova casanovaa440@netscape.net
I have been teaching piano for a few years and would like to increase my student base but I dont have space in my home. I wonder if anybody has any suggestions about finding a place to teach, maybe renting a place to teach in. My concern is the cost and a way to insure the place that I will teach in.

11/13/2001 Don Russell don.l.russell@worldnet.att.net
I am looking for a contract/agreement for use with private students in studio setting. Can anyone help with this?
Thanks

11/13/2001 Patti Bennett musicbypatti@hotmail.com
This is in response to Matt Casanova.

I am in the opposite situation. Unless a miracle occurs, you won't be able to find a desirable place (in a desirable location) to teach for less than $800.00 per month. Don't forget to add electric bills, gas bills, phone bills, extra printing costs, cleaning supplies, toilet tissue and paper towels (the cost at my studio is around $75.00 per week for just these basic necessities), etc. etc. etc. You also have extra expense driving to the studio. There will also be additional taxes (I have to pay both city and county taxes) as well as business licenses, advertising and so many other 'hidden' expenses that you don't think about until reality hits you and the bills are due. As for insurance, I pay $1500.00 per year for content and liability. Since there are about 240 students in and out of my studio each week, I had several insurance companies who would not write a policy for me. No insurance company would write a policy for me unless I had a security system ($$$ do you feel the dollars adding up?!?!). So I had to have a security system installed and now have a monthly bill. Believe me....I'm not trying to discourage you, but I do want folks to do their 'home'work before moving their studio from their homes. I plan to move mine back to my home after August of 2002. (I am building an addition to my home, so that I can continue to teach the classes and offer summer music camps that we have offered in the past. If I had done this years ago when I started my commercial studio, I could already have paid for the home addition four or five times over. As it is, I have paid rent all these years and have nothing tangible to show for all the expense). I have hired several other instructors to try to offset expenses at my commercial studio, but it doesn't help that much when all is said and done. It is just more headaches, more work, more cleaning up, more recital programs to print, more scheduling to be done, more calls to respond to, more problems to try and offset, and more toilet tissue to buy (Ha! Ha!). Please go into starting a studio away from home with your eyes wide open!! Pray long and hard about making the right decision!!!!

11/16/2001 David Williams suzuki1david@aol.com
Experienced Suzuki piano teacher, well qualified in Europe, the US and Japan. I welcome responses from the San Antonio, Texas area, as I am targeting this area to begin a piano studio/school. All inquiries are welcome.

11/24/2001 Lewis Moore lewism@charter.it.com
I as wondering how the slow down of our economy and the events of Sept 11 have affected private music teaching. I have quite an increase in students in the past several months.

11/26/2001 Robyn PIANOBLESSINGS@webtv.net
In response to Matt about an outside studio - I agree you need to do your homework before venturing out into all the "overhead" you will come across. I know teachers that have successfully accomplished teaching outside their homes by going into the local music stores (and still remain independent!) or an option was one teacher friend "rents" a two room space in the back of a dance studio; another I know has a rental home where an instrumental and guitar and voice teacher all share the rent, insurance, etc. Her husband "runs" the business side so she can concentrate on teaching only. Ask around your town and see what is there. Maybe the local YMCA/rec center/teaching in a church? I also know a lady in another town that has 250 students and teaches in a strip mall studio but only group lessons...she cannot find the time to do private lessons since she has to deal with the overhead. It is tough to market an outside studio but don't let it stop you if you are determined. My home is a 23 yr old. one and the maintenance on it from added use of carpet wear and tear and "bathroom breaks" (Plumbing repairs) sometimes makes me wish to relocate. Good luck. For the teacher looking for studio policies, email me and I can pass along the policies I use.

11/27/2001 ladyivory
ladyivory@msn.com
Help... my 8 year old piano student has long nails and I believe it hinders her hand postion. Ive told her mother and she has failed to cut her nails. Do I backoff and just work around this or make a stand?

11/28/2001 Angela Kelly angie_dansing4life@yahoo.com
Jason,
I am a freshman in college for music education-choral emphasis. I suggest that if you do not know Music Theory, to go ahead and begin studying it. It is required of music majors and until college I never heard of it. It creates a lot of extra practice to keep up with more advanced students. Our first test consisted of conducting and counting rhythms, conducting and saying note names in rhythm, reciting key signatures and identifying note names in both treble and bass clef. We now are studying triads and seventh chords, minor keys,etc.

You seem to have much experience musically and this may be something you have known for a long time, but just in case here it is. In college we also have to attend a recital class where we listen to other students perform. Private instructors urge each student to perform and a 30 minute senior recital is required for a degree. Music Education is usually a five year major. I hope this info helps and if you have any other questions I will try to help if you email me.

11/28/2001 Angela Kelly angie_dansing4life@yahoo.com
I am a college freshman studying music education with choral emphasis. I want to teach in a highschool for a few years but once I have children I want to teach private voice lessons from my home in order to be a stay-home mom for my children, but still provide income for my family. I was wondering if their were separate requirements or certifications, licenses,etc. to teach private voice lessons. I would appreciate any info you can give me at my above email address. Thanks!!!

1/07/02 Teri terising41@yahoo.com

Does anyone have any marketing tips that they can share for obtaining private students for lessons? I'm just getting started and all the advice I can get would be appreciated! Thank you.

1/08/02 Heather Gateau hgateau@hotmail.com

RE Teri 1/07

When starting your own studio, the best marketing tool is to get your name out into the music community. There are several ways to accomplish this.

First, design a flier to include information about yourself, what you are offering, and all information you feel is pertinent. Send this flier to local school music teachers (school addresses are in the phone book or online) and ask local music stores to post your flier. Most school music teachers keep a list of private instructors to recommend to their students and parents. If your budget allows, also create brochures that you may leave with teachers or music stores that they may give to inquiring students or parents.

Second, arrange to hold master classes at local schools and/or community centers. This gives students (and parents) the opportunity to meet you, witness your abilities, and experience your teaching style. Third, you may wish to offer a "first lesson incentive," ie half off price for first lesson, free half hour lesson... something to catch prospective students' attention.

Getting your private studio started involves a lot of leg work at the beginning, but when done correctly, this marketing strategy will eventually need very little effort on your part once you are established in the community. and draw them in.

1/10/02 Kim kimscorner@aol.com

The thing that helped motivate me to practice when I was a vocal student was to see professional vocal performances. Maybe assign her to see a musical and/or opera (depending on the style of music being studied - or what her interests are). Even today when I see a performance I want to jump out of my seat and sing...just an idea. Good luck!

Kim

1/23/02 Rachel Perdue rlp_sutter@yahoo.com

I have taught private piano lessons from home for years, but since my departure from college in 1997, I have felt somewhat "out of touch." I am attempting to find information on upcoming seminars in my area (WV), but have been out of luck so far. Does anyone care to offer advice on a few of my issues?

1. I have acquired 2 students who have a bad case of nerves during our lessons. Their playing is fine, except their nervous shaking while playing practiced pieces reduces my ability to critique. How do I help them calm down?

2. What are some reliable and inexpensive online resources for selecting classic pieces for beginner & intermediate levels?

3/03/02 Paula Schwartz rpschwartz@myvine.com

I am a piano teacher and am in need of some type of musical puzzles in all levels. Maybe some kind of word search, or crossword - anything! If anyone has any ideas please respond. Thank you!

3/09/02 Heather hgateau@hotmail.com

Paula:

I have found some very interesting games and books online at http://www.friendshiphouse.com Also, check with Alfred Publishing http://www.alfredpublishing.com

3/09/02 Gwen Weaver gwendoug@bellsouth.net

Is is appropriate to increase price after 2 years of teaching and request a late fee? Many of my students aren't really interested. Their parents want them to take. I teach at a Christian school as a private teacher. Many won't bring their books and just want to play. I tried to speak with the parents to no avail. I just sent out a revised policy, but not price increase. What length of time should I wait to weed out the disinterested? The not showing up and not practicing and no books just wears me out. Any suggestions? Thank You.

3/21/02 kk kkorn@yahoo.com

A quick comment about the "3 strikes and your out" suggestion that I've heard several mention.(in regard to a 16yr. old student that does not practice)...

In my humble opinion, comments such as this are everything that's wrong in the world of music education. I have/had several students who have responded the same way (lack of practice). I approach the lack of practicing as a personal challenge for me. The way I see it, in SOME facet EVERYONE finds music interesting. If the student doesn't respond to to normal "regiment", then the teaching technique/material should be altered to fit their interests. I think we all know that many (let's be realistic, most) of our students will not be pursuing careers in music, so why must we teach them with a set-in-stone routine? I have taken students that were being "forced" by parents to take lessons and attempted to go through my normal pedigogy to no avail. What I did was try to put myself in the head of my student and through playing around & listening to music with them, devised a lesson plan for them to follow. I found that by first asking them: "What do you want to learn" and then enabling them to explore their own creativity and direction I was able to gradually (without them even realizing it) throw in elements of a formal music education. If a student likes nothing but N-Sync (God help them!?) then I will teach with N-Sync material. I am consistantly blown away by these "unconventional" students because without fail once they start enjoying sitting with their instrument the natural quest for knowledge takes over and you will find yourself being inundated with question after question wanting to learn more. Now you can roll up your sleeves and begin the student's academic growth.

You just HAVE to be on your toes!!!

God Bless,

4/25/02 Matt Raines mattraines@cox.net

Hey everybody great site! I'll just add my 2 cents and be on my merry way...

1. There should never be an unpaid cancellation. This means the TEACHER as well! If you cancel 2x a month, you can't expect to charge your students.

2. There are way too many poor players and teachers who teach. Especially guitar. If you can strum Kumbaya and play an Am pentatonic your rates should reflect that. If you just got off tour with Dave Liebman and your book on the fundamentals of musical rocket science and molecular harmonic integration just became a best seller, you should be compensated.

I wouldn't want a personal trainer who ran around w/a case of ho hos and weighed 350lbs naked. Nobody wants a teacher who can barely play and/or has no teaching skills. I once saw a horrifc guitar player claiming to teach drums, bass, keys,voice and banjo. What? Guitar was his main bag to boot!

Charge what you're worth and after 4/27 check out www.mattraines.com for some (hopefully) hip stuff! Peace out........man!

5/9/02 Elizabeth jandem100@aol.com

Can anyone give me advice for adult beginning music? I teach classical piano and there seems to be wonderful music out there for the children, but I the adult beginning music seems to be confined to Alfred's all-in-one or Bastien's. Does anyone have an adult beginner book that they particularly enjoy? Thanks.

5/23/02 Heather Zippetyzip@aol.com

Does anyone have any suggestions for convincing students to continue taking flute lessons over the summer? I am a college student, and i currently teach 20 students each week. Some of the parents think that because students do not have band in the summer, they don't need lessons... however, my lessons almost never involve band music. I know that if students do not take lessons, they will not practice... then they will return in the fall, with tight, smiley embouchures, and we will have to spend the first 2-3 months reviewing what we learned last year! I have told this to the students and parents, but they don't seem to understand. Also-- I have a sixth grader who is somewhat of a prodigy... she already plays better than most of my high school kids! And she practices! Her mom says that she will not be taking lessons over the summer because "She is soooo far ahead in band already." WHAT CAN I SAY TO MAKE PARENTS REALIZE THAT THERE IS MORE TO MUSIC LESSONS THAN SCHOOL BAND? Don't get me wrong, band is fun and a great learning experience, but advanced students need to be challenged with other work. The 6th grade prodigy has mentioned to me that band is really boring and easy, so I try to challenge her with the music we work on in her lessons. Why would her parents think that stopping lessons (therefore not challenging her musicaly) would make band any less easy/ boring????

5/24/02 Larry Fulton lfutlon@mn.rr.com

I have heard this before, about not practicing during summer from my flute students. I tell them now we have more time to work on some of their favorite music or songs during the summer when they don't have a school music obligation. I hope this helps.
Larry

6/24/02 Dean Calvano deancalvano@hotmail.com

I was refered to this page and I hope you can help me out. I have been playing guitar and writing songs for over 20 years. I am interested in teaching beginning Guitar. I do not however know that much music theory. I was wondering how much theory I would need to learn to teach Guitar to people who have never played. Thank you in advance for your help.
Dean Calvano

7/3/02 Janice Lumpkin jlumpkinpiano@msn.com

Hey to all! First time on this site. Have read some comments and would like to request some assistance. I have been teaching out of my home for 6 yrs. Currently I have 32 students - 1/2 of which are members of my church. I do not charge very much for lessons - less than 1/2 of what some others in the area are charging -- mainly due to the fact that most of my church members would have to quit if I raised my rates. I know my non-church members could afford an increase. Should I raise rates for some, wait another year and increase next year (I increased slightly last year), or add some kind of yearly activity fee to offset some of my expenses. I know I'm not making anywhere near the money I should be making but with the church member dilema I don't know what to do. Any suggestions would be greatly appreciated.

8/5/02 John Steffen COEINCUS@aol.com

What a great site. It is a shame that most of us start out with only a love for music and a desire to share it, but without knowing what we are doing in the studio. Maybe that's why we start out charging so little for lessons?....50years ago I was paying $12 for a lesson 1/2 hr. It was said by someone in this forum that we charge what we are worth...after we feel more competent we charge more.. To the teacher in Florida I am charging 20-25 per half hour of teaching and more if I travel to their homes.

8/8/02 Robyn pianoblessings@webtv.net

To Heather: It may help if you begin in February each year announcing your Summer Flute Session and what you offer. Heather, it is all about marketing your trade....

You have to educate the parents and the students to selling your service as a flute teacher during summer months also. Special themes for each month may help - ex: Disney tunes Month; Classical Composer Month, etc. and Solo Performance Month. These band students need to learn and obtain self-confidence for playing solo for auditions. In our area we have a youth symphony and country band which requires solo auditions. Also that "prodigy" does wish to stay competitive doesn't he? Parents know they're wasting their money when you reiterate the review process that you undergo in the Fall Session. Even a suggestion of a bi-weekly lesson or once monthly during summer for busy students would be good. I am always filled for summer lessons by April 15th. I send out a notice that I will accept 10 students for summer study only and if something happens a few extra (say 5) wish to sign up or even new students begin calling in May for the fall offer them the incentive of getting a space early with your studio. I teach piano but we both are teaching music so it basically works the same way.

Don't know if it will help you in your "hardsell" but it might give you some thoughts on future business. Email me privately if you wish to exchange ideas.

9/18/02 A.B. awr@email.byu.edu

I am a relatively new teacher with two questions.

1)I just moved to a new city and left all of my former students behind. I have only 3 students in this new city and would like to find some more. Does anyone have any suggestions about how to find and attract new students?
2) I've considered offering a lesson discount to my teenage students for regular and diligent practice? Is this a good idea?

9/27/02 Heather Zippetyzip@aol.com

To A.B.

I have some ideas for finding students. This depends, of course, on what instrument you teach, but you could probably apply some of these for any instrument. If you teach a band or orchestral instrument (or voice) make contact with the music teachers in the public and private schools in your area. Make up some fliers that they can pass out to prospective students. Ask if you can hang up posters in the band and/or choir room. Also, you can put fliers up in groceries stores, etc., that have a public message board. You could also try advertising your services at local churches and other places where parents with school age children would be likely to see them. (note: include on the flier a list of your credentials and prior teaching experience)

Try contacting your local university's music department. I am a college student, and frequently pick up students who have called the university in search of a good teacher. Let the instructors at the university know that you are available to teach. Also, if you visit the university yourself, you will probably find ads for various locations (music stores and schools) who are looking for teachers.

Finally, contact and be friendly with other music teachers in your area. They will frequently have a waiting list or can pass new students to you as they come in.

As far as rewarding students with free/discounted lessons, I would advise against it. First, it would be more difficult for your record keeping. Second, most students don't pay for their own lesssons, so it would have little or no effect on them. instead, try rewarding good preparation with various creative "prizes." For example, i have 4 main incentive programs for my students. For a good lesson, they receive a piece of candy (if it's really good i'll give them two!) For learning all of their major scales, they receive a king sized candy bar... same for learning all the minors. After we've done all their scales we have a test, and if they pass, i'll give them a $20 mall gift certificate. If they have perfect attendance for 9 weeks, i give them a $10 gift certificate. I'm also starting a "student of the month" program, where i'll be picking on student each month to honor (hoping to enforce some healthy competition!!) Anyway, if you would like more teaching suggestions or have any questions, feel free to post or email me. Good luck!!

11/8/02 Kimberly knisius@hotmail.com

I am looking for comments on an issue from anyone who has dealt with the "no contest" clause in private teaching.

I am leaving my current location of teaching privately, and may open another location in the same town. I know I cannot take the students with me, but I want to know how far I can go in a letter to the parents of the students I am leaving.

I would like to tell them where else I teach, and that due to my contract I cannon solicit them to come with me to either of those locations. I am explaining that I do not have hard feelings toward them, and the contract is why I have not asked them to follow me and that I would love to see them continue in their success in music in their school music programs.

Can I go this far? Can I go farther?

11/12/02 Brook hooversub@yahoo.com

The best way to meet new students is to work with a local music store. I get a few calls from a yellow pages ad. You can get free business cards at vistaprint.com. Put great effort into your teaching and word of mouth will spread. When it's time to raise rates, don't be shy. I usually do it around the end of a year after the holidays. You can remind students you have increasing health insurance plus you have to pay all of your dental care, get no paid vacation or other benifits folks with regular jobs receive. I teach guitar and bass almost full time out of my home. It's a great way to earn a living and I love what I do.

11/23/02 Patricia Masuda DBoyd95876@aol.com

Building your students from working with the local music store is the easiest way to establish yourself. Have a policy you present to the students from the beginning about 24 hour cancellations, paying in advance, paying for the entire month because their space is reserved for them and only them. Make sure the policy is simple and clear, no exceptions, and is well understood from the beginning, and you will have respect as well as minimal frustration. If you have been working with a shabby policy in the past, establish a new one and set it off in the new year with the excuse that you had to make changes due to past problems. People understand. If they don't, let them go. Be strong, be absolute, otherwise, you will hate teaching and become forever frustrated. Good Luck!

2/13/03 Annabelle Lim AnnabelleLSLim@aol.com

Can anyone help, please?! I used to teach Piano and Music privately, then started working for the UK government so stopped teaching. I have now left my job after having a baby, and my partner and I and our baby are thinking of moving to Spain to live. Can anyone help with the legalities of being a private Music teacher in Spain, please. Do I have to register for tax purposes, will I be considered self-employed even if I only have 2 or 3 pupils, do I have to let the police or council know etc? Please help!

2/15/03 Lewis Moore hiddentalent1@charter.net

Does anyone have any information or resources on how to teach music on line ?

3/12/03 Amy Hopkins hoam0202@stcloudstate.edu

Hello, I'm new to this list and, while I could probably talk forever with advice, comments, and many questions, I'll be brief and ask just one of the questions that's currently come up.

I've taught private piano and some flute for 8 years. I began when I was 15 and am now almost 24. I've always just taught beginners and a few intermediate students even though I am pretty advanced in my own piano studies and am a returning college student (now a sophmore) majoring in music education-vocal emphasis.

My question now is this: I've sung a couple of times in recent community events and while I've always been a singer, people know me more for my piano skills. Well, now that I've sung, people I know have called to request voice lessons for their children. I've never taught a voice lesson, and I'd really like to. I know I could teach them simple things like solfege and basic rhythm and note-naming, but, without a method book I'm really not sure where to start. I don't want people to "waste" their money thinking they are getting a good, experienced voice teacher. Although I'd never had voice lessons myself until college, I'm a good vocal-sight reader and I've always had a good voice and was accepted into the top college choir. The trouble with method books is that I can't find any for young beginners! The only ones I've been able to find are high-school and college level (24 Italian Arias, etc.)

Any help or advice at all would be much appreciated!

3/15/03 Patricia pjaeger99@hotmail.com

To: burningviolin@hotmail.com

Hello, you wanted advice on music for beginners on violin. I've taught violin for 50 years and have had good luck with Herfurth's A Tune a Day, Book one. I supplement this with all sorts of individualized hand-out sheets depending on the individual student. There is a Book 2 and Book 3 also; some can skip right from 1 to 3. Good luck!

4/8/03 Lewis Moore moore54us@yahoo.com

Anyone have any suggestions on ideas to challenge students especially older ones?

4/9/03 Lisa yangxu2000@yahoo.com

Hi, everyone. I am a new violin teacher. I really need help to improve my marketing skills, how to find students!???

Please send me your advice. Thanks!

4/10/03 Brandi H. rijne@hotmail.com

I am trying to implement a new program that has become a success in Nashville and I'm wondering what others think about this and how successful it could be. It's a program where children get lessons for free if they qualify for the free lunch program at their public schools. You find volunteer teachers and get instruments from a local store or have others donate them if they don't use them anymore. How would you refine this and would you be interested as a teacher in doing something like this? Please email me with suggestions and put 'Music Suggestions' in the subject line. Thank you!

5/19/03 Amy McGlothlin amy@mcglothlinmusic.com

That's quite an ambitious project you have there for the lower income kids. I commend you, but I wouldn't want to do the leg work. As far as getting instruments, that's the real problem. I think you would have to run this more like a non-profit organization so you could take donation money and instruments and use those funds to get the instruments fixed up. If you placed an ad in the paper or got someone to do an interview of you, you could probably get several dozen instruments, but I would bet that they wouldn't be in any condition to give out. Perhaps a local repair guy could help you out as well by donating time or giving you a reduced rate to get some instruments into playing condition for the kids. You've got quite a few things to accomplish to get this off the ground. Best of luck to you.

6/4/03 Greg Verheyn alleve23@yahoo.com

Hi, I am currently looking to move to NY metro area. I just taught at a public school for a year, and I want to teach soley privately.(string bass, cello, guitar) I am running into some problems with teaching out of a rented apartment. Insurance liabilty etc. Does anyone have any suggestions? THANKS!!

1/9/04 Lisa Kriss brnkrss@aol.com

I would like to start doing quarterly Master classes and wondered how I should run them? I run a small violin studio and think this is a great idea to get students to practice. How do you charge students to be in a Master class? Their normal lesson fee? Also, besides obviously performing, what do you include in a Master class? Do you critique the students there or have others critique them? Any suggestions would be greatly appreciated! Thanks!

1/13/2004 Melissa mmersinger@comcast.net

I've really enjoyed reading all of your comments and found them really helpful. If anyone could send me copies of their cancellation and makeup policies I would greatly appreciate it. I am having a problem with students taking advantage of my makeup policy right now. They give me 24 hour notice of cancelling a lesson, therefore I am entitled to give them a makeup. However, they seem to cancel their lessons 3 or more times each month and rescheduling all of these lessons is too difficult. I don't agree that they shouldn't get any makeups though and they cannot permanently switch their lessons to the other times I have available. These kids are just too busy!! Any suggestions??

1/13/2004 Kelly Penn MIpianoteacher@yahoo.com

In response to the past posting about keyboards vs. pianos, I agree with the teacher in this case. Most places will rent to you if you can't do the full cost outright or set up a payment plan. Keyboards are not weighted the same and will damage the development of techniques and skills that students need to learn. Waiting until they are 12 or 13 to jump to a piano is a mistake because bad habits will all ready be formed and be harder to get rid of.

Also, having young children on a midi interface to "complete their experience musically" or with the "bells and whistles of sounds" is a BAD BAD BAD idea. They will get so wrapped up in playing around that the lesson goes unpracticed and ignored. Besides- if they don't have the knowledge to use them and know the music foundation required for what to do with those "extras" they are a waste anyway. In my teaching I tell parents a keyboard of no less than 60 keys is acceptable for children through the primer level. When they hit the primer level they need to get piano shopping.

Keep in mind not all pianos are created equal. The tone and feel of the keys will vary by maker and not all insides are equal either. Mass manufactured pianos, such as Baldwin, Samick and others, use pressed and glued pin holdings for strings which give way and cannot be fixed over time. Makers that use solid wood pieces without piece gluing, such as Boston, Steinway and even Yamaha are better pianos and will last longer, holding their value.

I always tell parents when they pick out a piano to let the student play on several, find what they like in sound and feel. If the kid don't like it and the way it sounds it will sit there, untouched and resented rather than loved and played. I tell them to do this first, write down WHERE they played at and the brands and models of the pianos. Then I go with them and play/ test the same models and help them decide which is the best fit for where the student is now and where they will be in the future. Get a piano that can start where you are and grow with you in advancing skills. If you buy good stuff the first time you don't have to repeat the process ten years down the road all over again. This is how I have always done it and with great success in my students.

Just one more thing- the studio telling a teacher to get rid of anyone not on a piano yet is wrong. While the need to use a piano is important and necessary the studio needs to understand that there may be families with more than one child where dropping the money for a piano, even in payments, may not be possible at the immediate second that they demand they do so. I would caution against studios that feel they have the right to dictate this strongly to parents. They need to be reminded that they are not in charge. They are hired to teach lessons, not mandate what goes on at home between the lessons.

1/23/2004 Robert Firestone romyard@yahoo.com

Melissa: What I do is only offer a makeup under two conditions: 1) If something happens *beyond their responsibility* that prevents them from coming in. Breaches of responsibility on the other hand result in forfeiture of the fee. 2) Upon mutual agreement prior to the lesson to be missed. I make it clear *from the beginning* that the evaluation of whether an absence is excused or not *rests with the teacher*. Also, they are only guaranteed a weekly time slot by paying for the entire month of lessons. Anything less than an entire month purchased is sold at a higher rate. This helps remedy the problem of the student who cannot seem to keep to a schedule. Their commitment at the last lesson of each month is indeed for all of the lessons in the month to come. It is their responsibility when they buy up the month to be there. Either that or to buy up less than a month and pay at the higher rate. All this having been said, I am very generous with makeups, but I have limits as well. If a student piles up makeups, they cannot thereby stop paying the monthly fee and maintain their weekly time slot. They just have to reschedule those lessons when ever I have time.. They will lose their weekly spot though if they don't buy up the month at hand. They need to know that the monthly time slot reservation is how we make a living and that everything is on a first-come, first-served basis. Hey, if they really don't have time, just accept that and sell as many lessons as you can, but hold your ground and let them know that they can lose their spot. Your skill is very valuable and they need to realize that there is pressure on them as well to hold up their end of the deal!

Robert

2/9/2004 Michael machinedevil888@aol.com

NEW TEACHER - Hello, I am new to teaching students, as I have been a touring musician for quite some time. I live in Los Angeles, CA and was wondering how one goes about building a clientele? I have posted flyers around my area and registered here at MusicStaff, but I would like to know other ways of obtaining students. Any ideas? Thanks...

2/28/04 Lisa brnkrss@aol.com

Michael- The best way I have found to build a clientele is to let local teachers know you have spaces available, and give them your resume. It helps to build a relationship with teachers. You can offer to come do a masterclass sometime so they get to know you. Also give the teachers fliers advertising your lessons. Good luck! ~ Lisa

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