Guide to Teaching Music Lessons in Students' Homes

Have you considered teaching private music lessons in your student's home?  Maybe you already offer this option to your students.  There can be many pros to teaching in students' homes, but there are also some things to be aware of before diving into it.  Below, I've outlined a few pros and cons to teaching in a student's home, as opposed to in your studio.  Also, some things to keep in mind to make things go smoothly.

Pro:

Catering to students' needs by teaching them in their home can successfully open your teaching pool, allowing you to teach students who otherwise would not be able to study with you.

Con:
Be aware that this can sometimes (though not always) give seed to an attitude of complacence, on the part of the parent, the student, or both, since they don't have to put in any effort to go to lessons.  It can become less of a responsibility or priority, since the teacher just magically shows up at the door, even if they've forgotten it was lesson day.  It's one thing to cater to a student whose parents are both working and are unable to take the student to a lesson at the only lesson slot you have available.  But catering to someone who just would rather not drive their kids to lessons is another thing.  Beware of the words, "I'd rather not...", or "It'd be so much easier..."

Pro:
Students are comfortable in their home environments, and they often open up to you more easily and more quickly.

Con:
Sometimes, it can be a problem when students feel too comfortable.  Trying to establish boundaries can be difficult when they are on their own turf.  (Think: students wanting to lounge on the couch, wanting to wander into other rooms, or the parent having difficulties pulling the kids from the TV to go have their lesson.)  If the students come to you, this battle may have already taken place at home (or hopefully not at all) and is over before they get to your studio.  As the teacher, you are more removed from any conflict, and have more freedom to make the lesson fun and enjoyable.

Pro:
Younger siblings, who may have an interest in studying an instrument, are able to freely observe lessons.  It's rewarding to help someone's musical interests bloom, and that sibling could be a potential future student of yours.  (Although, the younger sibling can also attend lessons in your studio just as easily.)

Con:
You have no (or very limited) control over the environment.  You could be competing for attention with siblings, friends, neighbors, pets, dinner, homework, family disputes, television....  You get the idea.

Con:
You may find that driving to the student's home is not cost-effective for you.  I'm not only talking about the cost of gas and mileage added to your car, but also time.  Travel takes time, and this is not only time when you could be doing something (anything) else, but time when you could be teaching another student.  Having students come to you in your studio allows you to teach more students, which means you can make more money.

Now, by outlining the cons, I don't mean to make anyone feel that teaching in a student's home is a terrible idea, and I certainly don't want to turn anyone off from it.  It's just good to have an idea of what you may be dealing with.  Every student and home will be different.

• So, when is teaching in a student's home a good idea?

If you teach a large instrument, such as harp, it may be more commonly practiced to travel to a student's home in order to avoid the cumbersome task of transporting the instrument.

Maybe you are truly in need of more students, and so you are willing to do what it takes to accommodate them.  It's better to have a few students that you have to work harder for, than no students at all.

Perhaps you, as a teacher, just prefer it.  Maybe you've found a way to make it work for you, and your students like it, so you offer this option.

Maybe you do not have access to a studio space.

Perhaps you want to expand your geographical teaching area, so you wish to offer lessons in an area far enough away from your studio that students cannot travel to you.  (You may also wish to consider teaching lessons online.  I'll be writing a post on this soon.)

There could be other reasons as well.  These are just for starters.

• What things should I keep in mind when deciding if teaching in a student's home is right for me?

Why do you want to offer this option to your students?  Is this reason good enough to you, personally, to merit the added expense and time?  Is there any reason these students couldn't feasibly come to your studio?

Do you like driving?  Personally, I hate it.  Some people don't mind it.  If it is going to be super stressful for you to spend so much time behind the wheel, then you may wish to consider other options.  Think especially about the long term.  It may become tiresome to you after a while, but maybe not.
 

• What things should I keep in mind when teaching in a student's home? 

Avoid distractions at all costs.  Ask to teach in a room that is semi-private, so that people knocking on the front door, television, etc. can be avoided.  Avoid being behind a closed door, however, and never teach in a bedroom, unless a parent is also present at all times.  This is for your safety as much as that of the student.

Set up boundaries from day one.  This is so important!!  Because the student feels more comfortable in their own home, they will want to do all sorts of things they wouldn't dare do in your studio.  Even after you've told them the rules, they'll want to bring snacks or drinks, lie on the ground, wander over to the piano and tinker while you're talking, sit down at every opportunity, answer the door or the phone, bargain with you to let them have a short lesson so they can get back to the TV, etc., etc.  Setting up the expectations from the beginning is much easier than trying to redefine them later on, after a culture is already established.  Your best option is to get the cooperation of the parent, since it is their home.  Make sure they know what is acceptable in lessons, and address any issues with the parent as they arise.  Ask them to help you establish a good learning environment, by turning off the television, not allowing the child to bring things like toys or food to lessons, etc.  Once the environment is established, other behavioral issues can be addressed with the student (no lying down during lessons, stay in the room for the entire lesson - don't leave to answer the door, let someone else get it, etc.).  Constant reinforcement of the rules is the only way.  Never let inappropriate behavior slide, or they may try to test where the boundaries truly lie.

Charge more.  What?  Really?  Yes, charge more.  If you are going to the student's home, you definitely need to be reimbursed for gas, at the very least, if not more.  (Remember the time spent driving, which is time you could be teaching another student.  How much do you charge for a lesson?  That's how much you are losing while driving...  Plus, you're putting mileage on your car, which depreciates its value.)

Keep track of your mileage and deduct it from your taxes.  Yup.  Easy peasy.  Programs such as Music Teachers Helper can help you track your mileage easily.  Having your mileage tracked also gives you an easy way to assess how much you are driving in a year, and you can determine if it is worth it to you to continue teaching in students' homes.

So, these are meant to be just a few ideas to help you know where to start and what things to consider when teaching in a student's home.  Hopefully you find it helpful.

What other things are important to keep in mind when teaching in a student's home?  Feel free to comment below with ideas/suggestions.

Music Group Lesson 101 - Planning an Awesome Group Class!

I love doing group lessons with my violin students.  It's such an awesome way to have activities and performance opportunities that are not possible in private lessons.  But how do you get started?  This post addresses some ideas to keep in mind while planning a great group lesson.

What are the advantages of group music lessons?  For the students: performance opportunities, activities and topics that are not done in private lessons, it’s social (motivating!), and it’s super fun.  For the teacher: you can teach more students in less time (give yourself a break, but still be productive and give your students a valuable learning experience!), and you can still get the same income that week as you would by teaching privately (depending on how you decide to charge your students for group lessons, you may even end up making more), it’s fun for you too, and a change of pace from the normal weekly routine.  There are many more, but that’s a good start.  Are you excited now for group lessons??  Keep reading….

How often should group lessons take place?  When my studio is large enough, I like to do group lessons regularly.  I schedule them once a month, usually the last week of the month, instead of the regular private lessons that week.  Attendance at group lessons is required in my studio, but I have also heard of other people still holding regular private lessons that week, and then offering optional group lessons in addition, for an added fee.  You can do what you feel is best for your studio.  If your studio is smaller, you may choose to do group lessons less often, such as when preparing for a recital or special event.  Of course, some teachers offer group lessons only, instead of private lessons, in which case the priorities and format of the lesson may be somewhat different.

Who should come to group lessons?  I think group lessons can be done for any age and skill level of students.  If you have enough students in your studio, I recommend grouping the students by age/skill level and having multiple groups, in order to get the most out of your classes.  At times when I was building up my studio, I have also just held one group lesson with multiple ages and skill levels.  It works fine, but you have more work as a teacher in order to modify activities so all skill levels can participate and learn.

How much should I charge for group lessons?  That’s a good question, and the answer can vary, depending on what works for you.  I personally charge the same for group lessons as I do for private lessons.  So, essentially, each student pays me for the equivalent of four private lessons a month, and they receive three private lessons and one group lesson.  Some students only have 30- or 45-minute private lessons, but they still pay me the same fee for the 60-minute group lesson as they would for a private lesson.  I’m not too worried about the nickels and dimes, and parents tend to view it as getting a great deal, and it adds value to what they are paying for.  You can use this as a selling point.  But if you want, you could charge your students, who have private lessons shorter than your group lessons, a little more for the group lesson.  Honestly, I don’t think this is really necessary, because the group lesson allows you to teach more than one student at a time.  Even if the more beginner students are paying a little less, you will still probably make more as a teacher, because you will only be teaching 60 minutes, but will still get paid by 8 or 10 or however many students, as if they had private lessons.  But do whatever you feel works for you.

How long should a group lesson last?  That depends on what you would like to accomplish, but I feel that 60 minutes tends to be just right for me.  And for the kids’ attention spans.

So what do you do at a group lesson?  Well, that depends on your goals and the needs of your studio and the students in each group class.  There are many ways to do a group class, and I don’t think there’s one right or wrong way.  You could have just a performance/master class for older students, or for all students as you approach a recital.  You can have your students learn group pieces together, such as a fun duet where multiple people are on each part.  You can do something new and different every time, or follow a similar format each time.

My mom is an awesome piano teacher who has taught forever, and she likes to do group lessons in the following format.  I have sort of copied her ideas and do things similarly.  The time allotted can vary, of course, depending on the needs of the students.

• Composer Time:  (20 minutes, give or take).  Review the composer from last month (she asks questions about the composer they studied at the last group lesson, and hands out candy if they answer correctly), then she introduces a new composer.  Usually, she has ten (or fewer for younger students) important facts about the composer that they talk about and she shows them pictures, video, or plays musical excerpts for them. 
• Performances/Group Pieces Rehearsal:  (20 minutes, give or take).  Students who have been assigned will perform their pieces for the group.  She encourages good listening etiquette, and asks the students to give feedback to the performer, such as what things the performer did well.  You can also take time to rehearse any group pieces that everyone is learning together. 
• Theory Game or Other Activity:  (20 minutes, give or take).  Bring music theory to life with games and activities that the kids can do together.  You can have prizes for winners, music-related projects and crafts, and spontaneous composition.  Just make it fun.  Really, anything you can think of!  Here’s an idea for a group music lesson involving found objects for a musical composition.  Hopefully I will get some more ideas up here soon as well, so make sure to subscribe so you can stay posted.

Whatever you decide to do, just remember to make it fun, exciting, and social so the kids will enjoy coming to group class.  Make sure the kids know each others' names so they can be friends.

Well, I think I have covered quite a few questions about group music lessons, but if you find you have more questions, feel free to contact me, or leave a message below.  Thanks!

Music Composition with Found Objects - Group Music Lesson Plan Idea

I was with my 18-month-old at the grocery store, and she is at a super fun age when she loves music, she loves imitating things, and she loves discovering new things. So we're walking into the store, and she suddenly starts singing a high-pitched "eeeeEEE!!!" Then she repeats it a few seconds later on the same pitch, "eeeeEEEEEE!!" She did this about five times before I realized she was copying the beeping of the scanners at the checkout. This made me laugh and I was in awe at how amazing little kids are. They can sometimes notice things that we completely tune out and are not paying attention to.

This then made me think about how music is everywhere. Isn't that how every music appreciation lesson begins? Super cheesy, super cliché, right? But that thought popped into my head, and got me thinking about a lesson plan, which I think could be used in a private or group setting.  We did a similar class like this in one of my classes at Teachers College, and I loved it!  It involves creating musical compositions using found objects.  So much fun for kids (and for me too!).

• Objective: Create and perform musical compositions using found objects. 
• Preparation/Materials: Assign students to bring (or gather yourself) some found objects to use as instruments. Have poster paper and markers available.
  
• Introduction: Play "Water Walk" by John Cage.  Tell students to watch for strange instruments.  Discuss the students' observations.
• Below is a video of Cage performing the piece himself.  The picture quality is low, but the sound is okay.  Start watching at around 5:40.

• I also found this video below, which has better quality picture, but unfortunately the sound has some echo.

• UPDATE 04/26/14: I have since been exposed to some fun, awesome, and upbeat videos of my husband's friend playing popular songs with found objects.  Click here for an updated part 2 of this blog post, with links to these fabulous videos.  SERIOUSLY, GO CHECK THEM OUT.  THEY ARE FANTASTICALLY ACCESSIBLE FOR YOUNG AUDIENCES.
• Explain: Explain that music is everywhere and they can make music with the objects they/you brought. 
• Demonstrate: You may choose to demonstrate a composition you have done, especially for very young students. However, it may be appropriate to give little guidance up front, since they already had a demo from Cage. You don't want to stifle their creativity by limiting them with your own composition as an example. Just be aware that some kids may take your example and merely replicate it. Think about your own students and do what's appropriate for them. 
• Application: Allow the students to experiment with their found objects. Instruct them to "compose" a piece by drawing how they want it to sound on their poster. It can be images, words, or abstract shapes or lines. 
• Perform: Each student takes a turn to perform their composition, and/or allow them to play each others' compositions. 
• Discuss: Allow the students to discuss their experience. Guide the discussion as needed. What was difficult? What did they enjoy? How was their overall experience? What did they learn? 
• Conclusion: Remind the students that music is everywhere, just waiting to be created. Challenge them to look/listen for music in unusual, unexpected, or unconventional forms or places. Follow up with students in their individual lessons.

Let me know if you try this with your students.  I want to hear how it goes!  And if you have any questions or comments, please comment below.

Recital Schmecital - Preparing for Your Music Studio Recital, Part 3

This is a continuation of my series on how to plan a great music studio recital.  Part one includes a downloadable preparation checklist.  Awesome!

Part two of this music recital planning series includes a downloadable, customizable, printable recital invitation!

As promised, today's post is a continuation of part two (maybe it should be called "part 2B"?  Nah, I'm sticking with "part 3" for today's post), with a brand new design for recital invitations!  Yay!  This particular design would be great for a holiday recital, so I wanted to post it up now, since the holidays are coming up fast.

Download your recital invitations, then click here for instructions on how to customize them!

Be sure to comment below if you use these and let me know how it goes!

UPDATE: Spring Recital Invitations and Fall Music Recital Invitations are now available for free!

 

Transfer Student 101 - Transitioning Your New Music Students

Not all of your new students will be brand new beginners.  Some will transfer from other teachers, which is awesome, but has its unique challenges at times.  This post addresses ideas to help for a smooth transition.

Get-to-know-you Interview

Holding a get-to-know-you interview with the student and parent(s)/guardian(s) can benefit all parties.  You can get a feel for the skills acquired by the student already, and can assess their level of playing.  You can get to know the student and vice versa, so you have a better idea about whether the personalities are a good match.  The parents can see you in action and also feel confident of their decision to hire you.  I like to offer these interviews for free, and they only last a few minutes, but I find them very essential.  Doing this interview (by the way, I don't like to call it an "audition", because that sounds too scary for little kids) can eliminate problems down the road.  I will put up a post soon with ideas on how to conduct the interview, so stay tuned!

"But my other teacher said this..."

This one makes me laugh every time I hear it.  Not in a mocking way of course, because I'm sure other teachers are doing their best and I'm sure most of the time the students simply misunderstood the teacher's directions.  Hearing a student say these words in itself is not so much a problem, but when it's coupled with resistance to starting anything new or making any changes, then this can cause issues.

It is essential to build up good rapport and trust with the new student.  They were comfortable and familiar with their past teacher, and they are making adjustments and getting to know you starting from nothing.  Show kindness and encouragement, and most of all be very patient with the student.  Take time to get to know the student beyond music, such as sports, hobbies, interests, school, family, etc.  This helps to earn trust and shows you are interested in the student as an individual.  You'll be surprised the things you hear from your students when you stop to listen, and I think this is an important role we play as teachers, and also helps us tailor our teaching to meet the individual's needs.

One of the best ways to address this has to do with the wording you choose.  Instead of saying, "No, your other teacher was wrong, this is how you do it...", simply say, "Okay, well now that you have learned so much about the violin, you are advanced enough and ready to do it this way..."  By saying it this way, you are not discrediting what the former teacher taught (which probably was taught correctly but misunderstood by the student anyway), and you are helping the student feel confident in their abilities and ready and excited to move forward.

Correcting Sloppy Habits

I choose ONE thing at a time to master; otherwise, it's too overwhelming for the student (and you!).  Try setting small goals with the student and add on as they master these, rather than trying to change everything at once.

Most often, it's best to leave all the old pieces behind, even if they aren't completely mastered yet, and start fresh with new pieces.  This is exciting for the student to learn new pieces, and you can start with a clean slate instead of trying to fix engrained habits in old pieces.

Give the Other Teacher the Benefit of the Doubt

This may be unnecessary to say, but I feel like saying it anyway.  I'm ashamed to admit that there have been a time or two when I have received a transfer student and thought, "What the heck were you learning with your other teacher??"  But I assure you that I don't do that anymore (maybe because I'm more mature now and I'm not 14 years old anymore...)!  As music professionals, it's important to remember that we are all doing our best, and as I talked about earlier, if we see problems with a student's technique or other things, it may be that the student misunderstood, or was in the process of making changes and corrections when they switched to you.  I remember one student, who was a transfer student to me, who had poor intonation and struggled with shifting.  We worked on ear training and scales and a number of other things, and I tell you what, that student made SO much progress!  She wasn't quite 100%, though, when I moved out of state, and I'm not sure which teacher she ended up going to next, but I remember feeling self-conscious and wondering what the other teacher would be thinking about me as a teacher.  I didn't want the next teacher to think I allowed my student to play out of tune, or that I didn't take measures to fix the problem.

So, my whole point here is: give the other teacher the benefit of the doubt, and certainly keep a good professional relationship by not bad-mouthing other teachers.  Heaven forbid someone might be thinking the same untrue things about you, which you certainly don't want.  Be kind, respectful, professional, and give the benefit of the doubt.  And then move on.

Just a thought I wanted to share, even though I'm sure you all are already awesome in this regard.

If you have other ideas that helped with transfer students, or issues you'd like to discuss, feel free to leave a comment below.