Regarding method books, my question is: what do you use after Piano Safari, level 3? Or do you design your own curriculum?
Many thanks, as always for your help.
As far as method books go, I am definitely a zigzagger. Rarely do I put a student in one method book series covering books 1-2-3 back-to-back.
Sometimes that works just fine and can certainly give the student a feeling of progress by “moving to the next level.”
I find many students, however, transition better through levels if I either supplement between each one for a few weeks (or months) or even cover the same “level” in two different book series. For example, I might have a student finish Piano Safari Level 1 then do Piano Adventures Level 1 before moving into Piano Safari Level 2.
One thing to keep in mind is that (with the Piano Adventures series in particular), I’m not one to give students both the Lesson and Performance books. I usually just do one or the other, especially if I’m weaving it between levels of another series.
In answering your more specific question on what I would do after Piano Safari 3, I often go to Piano Adventures 3B or into a repertoire series such as Celebration Series Repertoire Level 2.
(The authors of Piano Safari say that book 3 transitions nicely into Celebration Series Repertoire Level 3 but I always find doing a little in C.S. book 2 first a nice transition.)
Piano Safari 3 covers Major and Minor keys and technical skills in the keys of C/Am, G/Em, F/Dm. Piano Adventures 3B focus on the minor keys only.
Here’s an example scenario.
Piano Safari 2 (5-finger patterns)
Piano Adventures 2B (Chords)
Piano Adventures 3A (One-Octave major scales/keys of C, G, F)
Piano Safari 3 (Two-Octave scales/keys of C/Am, G/Em, F/Dm)
Piano Adventures 3B (Two-Octave scales/keys of Am, Em, Dm)
This may be a little excessive example overlapping however, something like this might work for a student who is professing a little slower. Also, as I said previously, keep in mind this would just include one book in the P.A. series (such as lesson or performance)
I hope this gives you some ideas. Good luck!
Reader friends, do you have any suggestions?
MJP and I would love to hear where you take your students when they finish Piano Safari Level 3. Please share in the comments!
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Those are some great questions and I would be happy to share a little more info!
I don’t have a set curriculum I teach in the Summer. For the most part, I just keep going with whatever students are working on but it’s always quite relaxed and there is no Classical repertoire involved unless the student specifically wants it.
Usually, I try to do a lot of pop tunes, Disney, chord charts, really anything the student is interested in. For several years I held a studio-wide outdoor picnic performance and it was fun to play that kind of music in that environment.
The 6 lessons in 7 weeks have worked perfectly for me ever since I’ve opened my studio. Depending on how my late July looks, I’ve even done 6 lessons over 8 weeks or 7 lessons over 8 weeks (you get the idea).
It’s nice to give flexibility to families in the Summer and I prefer to have a lighter schedule myself. Because of my preference for a light summer, I also do not require students to take summer lessons. I strongly recommend it for the first 3 years but don’t require it.
If they opt not to take summer lessons, however, I do have a $30 non-refundable holding fee in order to keep their spot for fall lessons. I can’t replace my income for those two months if they don’t take lessons because I can’t take on new students that I don’t have space for in the fall.
This is a great way to still have a little extra income while maintaining a lighter summer schedule.
The summer tuition fee is paid for in one payment (due by the first lesson) however, on occasion, if a family requests, I will let them make it in two payments. My fee is the same “per lesson” rate as the school term although I don’t advertise “per lesson” rates – that’s just how I calculate my fees.
I only advertise an all-encompassing rate – so an annual rate for the school term and a summer rate. From there, they have payment options of annual, semester, or monthly. I think it’s good to keep the focus on the big picture fee and not on the per month (and especially not a per lesson) fee.
If you would like to see an example of my most recent announcement to my studio regarding Summer lessons, you can download the PDF here. I write it out in a document basically for my own historical archives but copied and pasted the text into an email.
I hope this helps and let me know if you have any more questions!
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Can you think of any moments when, as a young piano student, you were put on the spot or caught off guard being asked to play something for people and feeling the heat rise to your face because you weren’t able to do so “because you didn’t have any “music”?
I myself have had many experiences in this situation – sadly, even into my early adult years. Often, the request was a simple one – “Happy Birthday” – and yet to me, it was crippling and made me feel ashamed.
These people know me as THE pianist in their life. That’s what I’m known for! Why can’t I just sit down and play this simple tune without music?
Without a doubt, life experiences make up who we are today.
As a teacher, I’m now determined to help my students feel ENABLED and CONFIDENT that, as pianists, they can sit down and play something anywhere and at any time – starting with the tune “Happy Birthday.”
Today I am excited to release the ultimate teaching resource for playing “Happy Birthday” by ear and am confident this is the only download you will ever need!
I had intended to follow up that post immediately with a second one sharing what I had ultimately found as a super simple and successful solution to implementing an incentive, more specifics on the program, and a list of popular prize box items, and some free downloads from my own programs.
Then COVID-19 hit.
Suddenly, all we could think about was how to transform our studios overnight to online instruction.
The need for hearing about an in-person incentive program and physical prize boxes suddenly felt completely useless at the time, so I decided to put the post on hold in order to do my part to help which included these posts:
I haven’t forgotten you though, and so here I am, back on the topic of incentives in the studio!
Each of our situations looks quite different at the moment in our studios with some remaining online, others going back to in-person or some version thereof, and some having to close down their businesses (our hearts go out to you!)
Before we dive in, if you didn’t catch the first post, be sure and read it first!
This year marks the start of my 10th year of full-time piano teaching. While I’ve been teaching for 20 years, the first 10 were part-time (alongside other careers) with generally no more than 6-10 students at a time.
Ever since I started teaching full time, I’ve found myself focusing on one or two major things each year (not always intentionally, but quite recognizably in hind-sight).
Examples include learning to use a new program, improving my teaching in a particular way or area, trying a new method with as many students as possible at once, and so forth.
Last year I suddenly felt inspired to explore and become better acquainted with the gamut of sheet music solos.
If you’re not already teaching lessons online, many of us will be this week following Spring Break.
I think we can all agree that online teaching can take a little bit (or even a lot) more energy than in-person. Hopefully, the more we do it, the easier it will get!
To help you along the way, here are 10 products I love that can help make your next few weeks feel a little less stressful and a little more comfortable.
Remember, it’s the small things that can bring us joy in stressful times!
Here’s a quick reference guide – descriptions follow!
#1-4 Hydrate and Moisturize
Staying well-hydrated is always important for good health, but we may need to be even more conscious of it now. If we’re not intentionally conscious of it, we may tend to find ourselves talking a little louder than normal which leads to dry mouth and dehydration.
To incentivize or not to incentivize. That is the question.
(Or maybe you’re simply wondering at the moment whether or not “incentivize” is actually a word? It is, by the way. 🙂 )
Do you struggle with implementing an incentive program?
Is it because you’re torn between the philosophy of extrinsic versus intrinsic motivation or is it because it’s a struggle to be consistent in implementing something? (Or maybe a little of both?)
While there’s plenty of research supporting both sides of this age-old question of extrinsic versus intrinsic motivation, today I’ll be sharing my journey with (and support of) implementing incentives. Specifically:
Why I struggled for years with implementing incentive programs.
Four things I found an incentive program (and I) needed for long-term success.
How others in the field helped inspire and develop my own philosophy regarding extrinsic rewards along the way.
How short term rewards can turn into long-term joy including a specific example from my studio.
In a later post, I’ll get more specific with the incentive program I’ve been using with success for several years, and a list of popular prize box items.
Description: In this collection of insightful essays, the author describes fundamental principles of human learning in the context of teaching music. Written in an engaging, conversational style, the individual essays outline the elements of intelligent, creative teaching. Duke effectively explains how teachers can meet the needs of individual students from a wide range of abilities by understanding more deeply how people learn. Teachers and interested parents alike will benefit from this informative and highly readable book.
Why I love it: The first sentence to the preface of this book says it all. "This collection of essays is not about how to each. It's about how to think about teaching and learning."
Teaching is neither necessary nor sufficient for learning. People can learn without being deliberately taught and a teacher can inform, instruct, explain, and demonstrate in the presence of students without the students' learning what the teacher intends to teach. (Page 10)
Learning to play or sing any scale, any exercise or any piece is never the real goal of music instruction...The real goal... is for students to become superb musicians, doing all of the things that superb musicians do, irrespective of what is being played or sung at the moment... The far-reaching goal remains the same from the first day of instruction to the time when the student reaches the highest levels of artistic musicianship. In this sense, the goals of the lesson plan never change, regardless of the skills or experience level of the students you're teaching. Only the contexts in which the goals are taught (i.e. the activities, the music) change over time. (Page 29)
Students need to learn to study effectively, to practice effectively, to think effectively. So, when and where will they learn that? In class, with us. Not by our telling them what to do when they're alone in a practice room or in a carrel in the library, but by our leading them through the very activities that we expect them to do on their own in our absence. (Page 61)
...the decisions of what to teach when are central to artistic teaching. (Page 103)
In order to become independent thinkers and doers, learners must eventually use information and skills in situations in which they have had little or no prior experience. (Page 141)
All of this suggests a redefinition of what it means to learn something. Much of what we learn as part of formal education is presented to us in very limited contexts, and we have few opportunities to practice applying what we know and can do in contexts beyond those in which the knowledge and skills are initially taught. But if the goal of educaton is that students learn to use knowledge and skills effectively in the future, even in unfamiliar circumstances, then transfer must be definited as the goal of instruction. The goal is no longer the acqusition of knowledge and skills but the application of knowledge and skills in situations that have not been taught explicitly. For the developing musician, the goal is no longer to play a given piece beautifully, but to play beautifully (period). (Page 157)
Description (from GIA): The perfect introduction to Edwin E. Gordon's music learning theory!
With clear and compelling language, Eric Bluestine sheds light on the most vexing issues in music education—all the while drawing from the contributions of perhaps the most influential thinker in the field today, Edwin E. Gordon. In the process, Bluestine unlocks the mystery that frees a child’s mind to think on its own musical terms.
Why I love this book: Please don't let the fact that it's an "introduction to Music Learning Theory" deter you in any way! Even if you weren't necessarily looking to learn more about MLT, music teachers of every instrument and philosophy will get great value from and depth of understanding on how to teach music from this book.
In all my years of music education, this is the first book I read that really addressed how to teach "music." That is, how to understand the sound that music is and not just the symbols (a.k.a. music "notation") that we often define as teaching music.
I hold the elegantly simple belief that learning to understand music is its own reward. (Page xiv)
One of the basic tenets of Music Learning Theory is that children do not audiate intervals; they audiate functional tonal patterns made of intervals...In short, we don't audiate pitches, or even intervals. We audiate structured pitches, pitches that we organize into functional patterns that relate to a tonal center. (Page 42)
Music education could be separated into four topics. They are 1) the musical and pedagogical principles that give rise to Music Learning Theory "irrefutable truths about music and music education"; 2) Music Learning Theory itself; 3) learning methods; and 4) classroom teaching (techniques, musical examples, and materials). Now, think about these in a pyramid shape with #1 as the larger foundation and #4 as the top of the pyramid. (Page 60)
The nature of Music Learning Theory is that one cannot use it directly. To use it, a music teacher must design a method based on it, and then use techniques, materials, and musical examples to get the method off the ground. (Page 75)
A child is not a miniature adult! (Page 88)
If we are to help our students to become independent musicians and musical thinkders - our most important task - then we must encourage them to generalize what they hear. (Page 149)
Description: Through the eyes of a simple piano teacher, learn the strategies to remove any self-made learning obstacles so that you can achieve all you put your mind too.
After ten years of teaching piano, Matt had become completely disillusioned with his career choice. Teaching was increasingly more frustrating, students were more difficult to motivate and coping with the stress had become much more challenging. He was on the verge of quitting until he decided to have a cup of coffee at a café suggested by his GPS. That’s where he met Ray and that’s when everything started to change.
An engaging, funny and thought-provoking parable, written as creative non-fiction, Coffee With Ray will introduce readers to revolutionary ways of communicating that will help make students become more accountable and teachers more skilled at facilitating learning.
Why I love the book: I especially love that this book is an easy read. It's simply a direct peek into the life of one teacher and is a beautiful example of how we can learn to be better at our profession by learning from others not in our profession. This would be a great summer read. It feels casual but is still directed toward being a better teacher.
Teachers tend to think about teaching a subject. When you redefine yourself as a facilitator, you become responsible for facilitating your student through the learning of how to teach himself. (Page 61)
Instead of telling my students what they should do, I offered suggestions and asked them to take responsibility for choosing goals that felt best for them. (Page 102)
I asked her what she had accomplished this week that she felt proud of (I found that to be a better and more effective way of starting the lesson than asking them if they had practiced.) (Page 102)
[The last four excerpts are focused on using "but" vs. "and".]
I like the way you made contact with that pitch, Mike, and now you’re ready to turn your back foot. (Page 74)
The point is that if you validate someone’s performance, as Dominic did, and then you use the word ‘but’ to create a change in the performance, the student never remembers what came before the ‘but.’ “If, however, you use the word ‘and’ as the invitation for change after the validation, the student feels he has earned the right to go onto the next part of his training and he will both remember the validation AND create the change. (Page 75)
You feel as though there is always something to fix. While that may be true, the word ‘but’ creates a feeling of ‘less than.’ It creates a closed condition for learning as well as an ‘undesirable’ feeling. The word ‘and,’ however, creates a feeling of greatness, of progress. It creates an opening for learning and that is a much more desirable feeling. (Page 76)
Everything you have ever accomplished was at one time outside of your comfort zone. Yet, by labeling it as hard you put a question mark on your ability to learn or accomplish it. By labeling it as new you never question your ability but, instead, actually acknowledge that you are capable. (Page 78)
Those are my three favorite books! Do you have any favorites? Share them in the comments!
My Reading Lists
If you would like to check out some of my posts on books I've read in previous years, check out these posts.
As you can see, I haven't kept up very well with publishing my annual reading list. However, I do include books I'm currently reading in my monthly "secret letter" which goes out at the end of every month.
If you would like to be on my mailing list so you can receive that monthly communication, you can sign up here.