A teacher wrote to us recently feeling overwhelmed. “I feel as though my lessons have become 30 minutes of “shock and awe”… I have so many awesome activities and ideas that I feel as though I’m pulling my bewildered student through a lesson that we both emerge from breathless and exhausted. I don’t want to be boring and I have so much to accomplish in those 30 minutes! Please help!”
I loved the saying “30 minutes of shock and awe”… I’ve been there too (usually with my wiggliest of students in an attempt to keep their attention… but also with my seemingly complacent students to win their loyalty).
In our quest to keep up with other extracurricular activities pulling our clients in all directions, we piano teachers have become masters of musical entertainment. And don’t get me wrong – this is a great thing! But without some sort of governor on the fun… we’re robbing ourselves and our students of the enjoyment that comes from the simplicity of loving music for the sake of music and revelling in the beauty that is learning.
When doing some soul searching of my own…
… I realized that the pressure I was feeling to pack a punch with my piano lessons was coming from my perception of progress. And to change my approach at times I needed to truly define what my idea of progress was. Was it a repertoire check list a mile long? Was it skills acquisition? Was it musicality? Was it level of enjoyment? I realized that my problem was the fact that I considered good progress to be all of these things… all progressing equally… at the same time.
When I looked at it that way it seemed a bit absurd. If I wanted my students to truly develop their sense of musicality, why were we on a mission to complete a “piece per week”? If I wanted my students’ level of enjoyment to flourish, why were we hammering away at a mile-long list of skills acquisition goals? If I wanted to show off a list of completed repertoire, how was I going to produce well-rounded pianists in the process? They go hand-in-hand but they are also fierce competitors. One will win out over the other… and the struggle is frenzied.
My Answer Was Simple…
… and I think it will be a freeing feeling to many who see this tug-of-war for progress in their own teaching. I decided that it is okay to spend an entire lesson doing one thing. It is okay to not assign a piece in a method book every single week. It’s okay to take the entire 30 minutes to compose. It’s okay to play that favorite theory game twice when requested. It’s okay to take 10 minutes to listen to beautiful music together. Because my new definition of progress has become “anything that furthers my students’ connection to the piano”.
Do some kids still need that multi-focus lesson where you’re movin’ and groovin’ the entire time? Yes! But in those moments where they’re completely engaged in a particular activity or moment it is really freeing to me to stop and stay there.
If the question of “But does this interrupt progress?” popped into your mind, spend some time deciding what your definition of progress truly is. And then, if you find the “shock and awe” approach isn’t working in a particular lesson, you’ll have the clarity to decide what will be most important to reaching your progress goals. And you’ll know exactly what to do.
Amber says
August 28, 2014 at 4:16 amI totally relate! I go from worrying that I’m not doing enough and that I can’t possibly be a good teacher if I’m not hitting every single area every lesson (techinque, sight reading, theory, ear training, musicality etc etc) and then I end up feeling that my lessons are rushed and that we don’t ever ‘get into anything’ properly!
One thing that is helping is to have one ‘theme’ each month to focus the ‘extra lesson activities’ (I believe I got this idea from an earlier blog post!) That way I don’t try to rush through everything every lesson!
And yes, last week I did spend an entire lesson composing with a 7 year old student purely because she was inspired in the moment to compose a piece called ‘Four Leaf Clover’! So cute 🙂 She was so excited, we ended up with a lovely little piece and I finished the lesson feeling refreshed!
Karen Magruder, NCTM says
December 15, 2019 at 8:12 pmThis is one reason I gave up 30 minute lessons a long time ago. The private lessons are either 45 or 60 now – much less stress. I put a great emphasis on creating a well rounded student who has heard and played in many styles, and from many places and times. For me, a typical lesson would be: give me your theory and do your warmups (all kinds of the rote things musicians need to know – trills, 5 finger patterns, scales, 3rds, chord progressions & inversions,…..), then we go thru each piece (4-6 usually), work on the trouble spots and ID what needs to be worked on for the week (One thing I don’t do unless there is really a problem, is actual practice – that’s for at home), I demonstrate new music, we go over any problems on the theory and the new theory. Then, if we have time, we cover sight reading, check their progress on clapping patterns with the MM, flashcards &/or ear training. After the lesson, they have 10-20 minutes of music lab while I teach the next student (independent study using books on music, listening, music games, the computer and so on). The at home assignment usually also includes a listening assignment or 2. In addition, we have once monthly group sessions that last for 90 minutes where we do all kinds of things including playing 2 or 3 songs each, doing it the way one would at a recital, some kind of review of basic music terms on the chalkboard and then from there anything goes: games, composition, ID of the quality and time signatures of the pieces they played, singing and building to an entire ensemble on simple percussive instruments, explore other instruments, a major composer, even dancing,…. All things that are more fun in groups.
We have bi-annual recitals and monthly, themed mini-recitals (only 4-6 students at my studio and no programs), we even do field trips a few times a year. I am currently working to put more composition and improv into my lessons. None of my teachers ever did those, jazz or ear training. Over the years I’ve worked hard to learn more of them and to be sure my own students don’t miss out. Your ideas are so creative! I am finding them very useful.
Barbara says
August 28, 2014 at 5:34 amBeautifully said, Andrea! I love the line “…my new definition of progress has become “anything that furthers my students’ connection to the piano.” I think I’ll print that out in BIG letters and look at it everyday! It only takes those few words to bring some sanity to all the chaos. Also, thank you for reminding us how many different things we actually teach when we teach piano — technical skills, musicality, enjoyment, etc…. Whew, we’re good:)
Beth Yantz says
August 28, 2014 at 8:51 pmYes, we are and we keep trying to improve. I also think the big letters are a good way to reminds us.
Alice says
August 28, 2014 at 6:45 amI love this post! But it creates this anxiety–what will the at-home assignments be? This is often my anxiety if I go with the flow of the student’s needs, especially when it’s a different direction than that for which I have planned. Maybe I need to teach them to be less reliant on specific instructions and new pieces from teacher for their weekly practice. Give them a list of practice activities less dependent on specific weekly assignments? What do you think? And what do you do? Thanks!
Edna Bloom says
August 28, 2014 at 8:54 amI think that is a good point. Sometimes I go back to their notebooks with a brightly colored marker and number in order what we will try to do the following week at lessons. I finish with writing the new date in the new color (with a flourish, of course). After a productive bunny trail, this saves me from having to try to recopy practically the whole list again and reminds me to give feedback on the material we did not reach during the bunny trail.
Elizabeth says
August 28, 2014 at 9:07 amI’m wondering this too! The answer to this question could be a blog post or two all on its own. (hint, hint!) So many of my students are little, and not able to effectively direct their own practice, let alone function without specific instructions for their parents to pass on.
Michelle says
December 22, 2017 at 7:59 amI also have been wondering this! Most of my students are older–the youngest is a tween–so they’re able to think for themselves a little more. (I heartily admire those of you who can teach young kids. Not my strong point.) Even with the student who has a 60 minute lesson we still don’t get to everything. I want to be able to reinforce what we’ve learned in previous weeks without taking up too much time.
Elizabeth–Don’t know how well this works for little people, but three things that have helped my studio are the following: “practice brackets,” where we bracket problem areas in the lesson that the student can immediately spot and start practice by working towards solving; ABC practice, where the student picks three things to practice (like a practice bracket from one piece, a line from the method book, and a five-finger pattern) and plays them each a little bit, then repeats the process (so thing A, then B, them C, then back to A, and so on); and demonstration (If I were to try to solve this problem, I would…) with encouragement for them to try to figure out WHY they’re having the issue they’re having (which ironically can sometimes be done by making the mistake on purpose). This helps them know what to do as well as gives them super efficient practice techniques.
Judy says
August 28, 2014 at 7:38 amWHEW! And thanks for THIS post! I’ve been so excited to learn about your creative ideas for lessons, and was just sharing with another piano teacher friend that I was beginning to feel overwhelmed with fun-ness and creative-ness ideas! This post give some great perspective along that scope and sequence line. Keep calm and carry on……….:)
Laura says
August 28, 2014 at 7:45 amYes, this! I’d also suggest as well that I’ve never regretted going to 45 minute lessons, even with the youngest children. I can easily fill up that time with a variety of engaging activities, both at the piano and off the bench. I just refuse to do 30 minutes.
Jane says
August 28, 2014 at 11:11 amI require ages 13 and up to have 45 minute lessons. Good to know it works for your younger ones, too!
Jane says
August 28, 2014 at 8:40 amThanks, Andrea! Great reminder of our real goal, teaching our students to play and love music! I tend to get caught up in the “routine”, so this is very freeing. Laura, I agree..I like the 45 min. lessons, and feel we get so much more accomplished. My new students start off at 30, which for most is plenty. I’m incorporating more games and off the bench activities for the young ones, thanks to this website and color in my piano! OK, off to lesson plan…
Diane says
August 28, 2014 at 8:41 amThank you.
Michele says
August 28, 2014 at 9:01 amI adore this philosophy. We rush far too much in every aspect of life. When we as teachers slow down a bit and be intuitively musical then musicality in our students can happen! Focusing on one maybe two aspects of piano/music will allow our students to be less stressed and far more ‘in tune’ to what is in them to express. Technique and understanding theory can be gently worked in when the learning environment is right. Every lesson is different…
Karen says
August 28, 2014 at 10:08 amGreat insight and perspective check! Thanks for this article!
Jacqueline Touchie says
August 28, 2014 at 10:57 amI totally agree! But here’s another thought. What about the $1000 song? You know, the one and only piece that was truly practiced at home all year? The only piece the student cared about. The only reason they stayed in piano lessons. Over the years, I’ve seen a couple of these students and it doesn’t seem to matter what games, listening activities, masterclasses, or outings we made/took/ or played, the reality was that by the end of the year, they had only really learned ONE piece. Thus the $1000 song. So as a reality check, where do we draw the line?
Debora says
January 4, 2017 at 7:58 amI’ve seen this issue with a few of my students too. But I think that if it inspires them to not give up on music, maybe that’s ok. The real goal of most music lessons is to create life-long music lovers, not people who will really be proficient in music and use it to earn a living. So if they only learn one song, but are able to continue to enjoy lessons, maybe that’s enough.
Heather Korn says
August 28, 2014 at 12:31 pm30 minute lesson only up to 7 years old and then 60 or 90 minute lessons for those 7 and up. Impossible for me to be make progress in a half hour. Some of my students drive 45 minutes just to get to lessons.
Remember where you are with each student and that music is not the only thing going on in their lives. We may want them to get 10 items done in a week and complete certain tasks and some do but think about the average kid and average parent – if you are feeling overwhelmed, so is your student and parent.
Slow things down and work on focus, time management and accomplishing goals. What are your students’ goals? Are you moving in the direction that YOU want or where your student wants to go. We do a goal setting meeting at the beginning of each semester where we discuss (and write down) at length where we are going and how we are going to get there. Everyone needs to be on the same page. I find that being a “mentor” and “music journey guide” is a better way to look at myself than “teacher”.
Consider moving to “immersion” teaching rather than traditional “chunking”. I have left traditional “chunking” (sending home a list of 10 items or so for practice, etc.) and am now working on “immersion” (spending more time on a song to address it in many ways -memorization, musicality, performance, background, history, theory, structure, address feedback if we get critiqued, video or audio record for review, etc.) Kids of the modern age do much better this way in my opinion. We still have notebooks but we use them in a totally different way.
Catherine says
January 3, 2017 at 3:31 pmHi Heather,
I second Alice’s follow-up question (below). How DO you use the notebook with your immersion approach?
Thank you!
Kathy says
August 28, 2014 at 7:49 pmI also teach 45 minutes. It really takes ” hurry” away!
Alice says
August 29, 2014 at 9:04 amHeather, how DO you use the note books with your immersion approach?
Tyra says
August 31, 2014 at 9:52 amAfter years of private teaching, I am slowly learning that my teaching approach depends on the individual child. I have a student, for example, that is a whiz at theory. Ask her anything and she can either write it or tell you. Applying theory to her playing is another matter. I am learning that I need to slow down with her, and really examine the music in front of her (slur markings, staccato, dynamics, notes, etc), encouraging highlighting or circling items with colored pencils or crayons. Sending home a list of songs to practice is not working.
Karen Magruder, NCTM says
December 15, 2019 at 8:20 pmI try to meet each students where they are and accept them for who they are. They all are very different. I teach music to all ages, group general music for 0-7 and private piano to ages 0-105. I usually have a least a several students with any type of disability, ranging from mild to severe that I teach successfully, so following that philosophy works quite well. Two of the saddest remarks I’ve heard a lot of is 1) you’ll take him? we’ve been looking for a teacher for 3-5 years who will accept him, and 2) I’m so glad you treat him like a Real Person. Isn’t that awful? Of course they are real people.
Darla says
September 2, 2014 at 5:19 amAbout what to assign for the at-home work if you spend 30 minutes on composition… let the student know you can’t wait to hear the fabulous, unbelievable progress s/he will have made with TWO weeks to play the pieces. I have noticed over the years that when a weekly student has an “accidental” two weeks between lessons (illness, parent conflict, etc.) that next lesson is often really good. And, for those of you just starting out – you don’t need to get every concept in every 30 minutes. Try teaching theory through the literature instead of as a stand-alone. In that regard, you’ll be teaching application as well as terminology right off the bat. Or white-out the last few notes of a piece, insert staff paper and ask the student to compose the ending notes. Twist it all together!
Janice says
October 2, 2014 at 10:54 amI agree that methodically moving through the “required” list of technic, sight reading, theory, new learning pieces, etec. takes so much time, and I know that many students and parents are eager to “finish” one level and move on to the next. When games and various other activities that focus on more specific aspects of learning, parents and students may tend to think they are not moving ahead. I need to use variety wisely while still showing students that they are growing and expanding their music-making skills.
C. Solis says
November 5, 2015 at 12:02 pmSometimes we feel we had to reinvent the wheel and add too many frilly games and visuals that really take away from the whole essense of beautiful music. The patterns, intervals, scales, dyanmics, tones, touch and just feeling the music and story within are being overlooked at times by too much fluff. There is so much to see and learn from every piece. I didnt have frilly stuff when i was taught the old fashioned way of hard work. I completely know that this doesnt work for everyone. And many parents just want to see their sweeties pushed along without being ready. But each and every child learns differently and progresses differently. But i remain consistant in my objectives of some old fashioned hard work with lots of love for each of them and for their love of playing beautiful music as it is.
Linda H. says
October 30, 2016 at 7:34 pmRead this for the first time just now. It was a Pinterest suggestion and I appreciated it! This happened to me and the feeling kept bothering me. You helped me define the problem. Thank you! I had also just read a little bio of Murray Perahia and in it he said he had a piano teacher as a young student who was “limiting” because he was made to work and work on every piece he was given until it was perfect, thus never free to explore so many other beautiful compositions. So I guess we need to remember there should be a balance– and time for thinking and reflecting and also experiencing the moment! And of course, practice!!