Piano lessons are held weekly in the piano studio at my home. Each student has a three-ring binder with sections divided into technique charts, assignment sheets, music terminology, reference materials, staff paper, and the studio calendar. The calendar shows the days of teaching, days the studio is closed, recitals, and other special music events of my studio. Through e-mail, I communicate all of my studio events for the month; what the students are learning, student recognition, and concerns I might have. I strive for an honest and open relationship between the parent, student, and myself so we all work together to help the student increase in his/her musical knowledge and love of music.
To me, quality work is more important than quantity. I allow students to move at their own pace, taking great care that they are given no more information/assignment than they can assimilate. I strive to take the necessary time to ensure a clear understanding, beginning with a solid foundation in practice procedures.
Unique to my studio are piano assistants who are with me daily. They are selected from my high school students and/or others who are qualified to assist me with group activities and going over assignments. The use of student-teachers is two-fold. First, using student assistants allows flexibility in meeting the needs of my students in a group setting, and secondly I am able to provide mentoring to aspiring piano teachers.
Included in the hour rotating lesson is a 15-20 minute group activity conducted by me with my piano assistance. This is the time when music history, musical games, ensemble work, and other group lesson activities are done. A review of the concepts learned the previous week is done and might include student questions or concerns about the last week’s material. Home assignments and practice charts are checked. I always encourage each student to evaluate his/her progress and help with planning his/her lesson, as it is my philosophy that when the student understands what he/she is working toward and accomplishing, he/she will have the best mastery of the material presented in my studio.
In order to insure physical and tactile skills, I use technique charts and books to teach arpeggios, scales, chords, cadences, and transposing. Additionally, much attention is paid to using a variety of articulations and the recognition of musical patterns.
Following the technique exercises, a short sight reading piece is analyzed -- working on scanning, playing slowly without stopping while maintaining accuracy. The patterns practiced during the week help to ensure a successful sight-reading ensemble experience at the lesson.
Repertoire pieces are played and evaluated by student and teacher. Corrections are made and difficult sections are analyzed and practiced. Specific instructions for each piece are written on the student’s assignment sheet so the parents and students understand exactly what is expected in the coming week.
Several times a year I encourage my students to compose their own work. I often have the student write a poem based on a certain theme. Then I help the student find the meter and rhythm of his/her poem. Composing the melody and harmony can then begin. Overall, I feel my students are given the basics of motive, repetition, retrograde, sequence and the basics of notating music.
To provide ear training I play samples, utilize recordings, and use computer software for the student to assess tonal patterns, beats, intervals, etc. This helps develop the student’s aural skills so that the inner ear reinforces what the eye sees.
The student is assigned one theory unit weekly to be completed at home, which is checked at the lesson the following week. Concepts are often reinforced with a whiteboard, theory software on my computer, group lesson games, and activities.
Musical terms are given and to be studied at home and quizzes are given at the next lesson. Understanding musical terms facilitates a broader knowledge of what is required for a fine performance.
Throughout the year students are encouraged to participate in local Music Teachers Association (MTA) programs, as well as competitive and non-competitive events. Participation is a decision made by the parent and student; however I do recommend and offer suggestions based on what would most benefit the student.
The time capsule is a fun group activity for learning music history at lessons. I fill a time capsule with information about the composer. We discuss how the items relate to the composer’s life. The students love this activity, and it is a great way for the students to remember the great composers.
The skills and activities mentioned above allow the students to be successful in studio recitals which are held three or four times a year. I want my students to experience fun and creative recitals to eliminate the fear of performing. Formal recitals, as well, are an important part of my studio. Recitals allow students to demonstrate their hard work and musical ability.
