Archive for the 'Teacher Resources' Category

5 Handy Tips for New Piano Lesson Enquiries

Guest post by Dr. Sally Cathcart of The Curious Piano Teachers. View the original on The Curious Piano Teachers blog HERE.

CuriousPianoTeachersLogoHave you had many new piano lesson enquiries recently? Do you ever find yourself caught ‘off-guard’ by phone calls? I know I certainly do! When this happens I can end up babbling on and feeling that I am not representing my work and worth to the best of my ability.

The next three months are probably the peak season for receiving phone calls or emails from potential students. Here’s some top tips from some of the highly organised Curious Piano Teachers members.

#1 KNOW WHAT KIND OF TEACHER YOU ARE

Do you know what kind of teacher you are? What is your teaching philosophy and approach? Discussions with potential clients are so much easier if you have made up your own mind about the following:

  • What do you teach?
  • How do you teach?
  • What ages do you teach?
  • What standard do you teach up to?
  • Is an instrument needed at home and if so what sort?
  • What do you charge?
  • Do you ever give discounts?
  • Are your teaching hours fixed or flexible?
  • What support do you expect from parents?
  • What availability slots do you have?

Once you have thought through these questions turn them into a one page cheatsheet and keep it close by for future phone calls.

It’s worth spending an hour or so getting this all pinned down. Check out our video below.

#2 HAVE A PHONE CALL — ON YOUR TERMS

Young entrepreneur at her workplace using laptop and phone.

As a rule of thumb let any unknown callers to your mobile go to the answer phone. Then, if they leave a message, this gives you the opportunity to listen through and consider your response. You’ll want to phone them back as quickly as you can so rehearse what you will say and aim to call them back within 24 hours.

During the phone call work down your cheatsheet (that’s assuming you have spaces and are actively looking for new students). If the answers correspond with your expectations offer a consultation/interview where both parties will have a chance to meet in person.

At this early stage don’t be too prepared to compromise on your core teaching approaches. For example, if you are only willing to take on younger children with the parents attending to lessons then stick to it!

#3 SAVE TIME WITH EMAIL ENQUIRIES

If you have a studio website or Facebook page you might find that some new piano lesson enquiries come in by email.

Responding to each one individually takes time so a useful approach is to create a standard template response. Set aside 30 minutes or so of your time to do this and once again use the one page cheatsheet as your starting point.

When a new enquiry arrives in your inbox simply copy and paste the main body of the template into your reply, adding whatever personal responses you want to.

#4 CREATE A FAQ PAGE

FAQBoardThe fourth tip on how to deal with new piano lesson enquiries is to turn your cheatsheet into a Frequently Asked Questions sheet.

This can be used on your website as well as being a really useful document to send to parents whether you’ve spoken on the phone or corresponded by email.

#5 FIND YOURSELF SOME TIME

Has all this been ringing a bell and you have found yourself caught ‘off-guard’ ? Then you need to find some time to sit down, grab a coffee, watch our video and think through what kind of teacher you are.

I really wish I had done this a long, long time ago as being communicating clearly what you offer prevents misunderstandings and frustration later on.

A big shout-out to all the piano teachers who contributed to this blog post for all their brilliant suggestions.

 

SallyCathcart

Dr. Sally Cathcart, Co-Founder and Director of The Curious Piano Teachers, has many years of teaching experience both as a piano teacher and as a classroom music teacher. After her travels as a Winston Churchill Fellow, Sally founded the Oxford Piano Group as a place for pianists and teachers to collaborate and share experiences. She was awarded a PhD from the Institute of Education at University College London in 2013 upon completing the first comprehensive study of UK piano teachers, exploring common practices, expertise, values, attitudes and motivation to teaching. She is a Principal Tutor on the Piano Teachers’ Course (UK), a trained Kodály practitioner and a senior musicianship practitioner of The Voices Foundation. Sally is an examiner for ABRSM and is on the ABRSM Music Education Advisory Committee. She is a Fellow Member of the Incorporated Society of Musicians (ISM).

How to Get More Piano Students

Guest post by Kristin Jensen of MyFunPianoStudio.com. View the original on Kristin’s blog HERE.

MyFunPianoStudioLogo

Everything I’d done to try to get more piano students was a waste of time with little or no results.

We’d moved to a new town and I was determined to fill my studio quickly. I worked hard to get the word out — in fact I even strapped my 4 month old into a baby carrier and handed out over 150 fliers at a grocery store on Coupon Tuesday.

Guess how many phone calls I got from those fliers? Zero.

I’ve since learned that there are much more effective ways to advertise a piano studio.

Effective advertising means a full studio so that you reach your full income potential. It will also help you build a waiting list, so that when one student leaves, a new one can fill the vacancy without missing a beat.

Read on to learn the most effective strategies used by expert teachers to get more piano students. Empowered with this info, you can focus on what works and stop wasting money and energy on ineffective marketing strategies.

Incentivize and Encourage Word of Mouth

By far the best way to get new students is by word of mouth. Once you’ve got yourself established, some word of mouth advertising will happen naturally for you if you’re a great teacher, so make sure you’re doing everything you can to offer high quality instruction.

But there are some things you can do to initiate word of mouth while you’re still establishing your studio and your reputation, and to incentivize more word of mouth once you are established.

Here’s how to get people talking about you:

Incentivize your current students to give you referrals

WomenTalkingOverCoffee

Offer a tuition credit for every student that they get to sign up. And the credit should really ought to be more than five bucks. Five dollars really isn’t that motivating.

When determining what your credit will be, keep two things in mind: First, inviting others to sign up for piano lessons may require your clients to get out of their comfort zone. Second, your clients are busy living their own lives and ensuring that your studio is full isn’t anywhere on their list of top priorities.

Your current students can be your very best source of new clients, so be sure to give them an incentive that will get them excited. You could even change up your incentive from semester to semester and offer things like a restaurant gift card, movie tickets, or a fee month of lessons. The cost of these incentives is small when compared with the lifetime value of a new client.

What if you don’t have any students yet?

If you’ve recently moved or are just starting out there are ways to get people talking about you and your lessons.

First of all, open your mouth and let people know that you teach lessons. When you introduce yourself, mention that you are a piano teacher. Often just a simple mention will lead people to ask more.

You can also offer to play at community events and during church services. If there is already a regular church accompanist let them know you’d be happy to fill in whenever you’re needed.

Although these strategies won’t get you new students as quickly as some of the other ideas discussed in the article, they will help the people in your community know that you teach and the effect over time can be enormous. Then when a mother asks around for a piano teacher, people will immediately respond with your name.

Use Social Media

SocialIconsPhoneDo you know how to get more piano students by leveraging the power of social media? This avenue is HUGE. When I advertise my studio, I spend most of my efforts on social media.

Advertise on Facebook

I have been impressed by how effectively Facebook ads have helped me get more students. And running ads sure beats walking around a grocery store parking lot on a hot Coupon Tuesday with my kids! You just set up the ad and then let it run.

Facebook has info about advertising on their platform here. The one thing I would warn you about is that Facebook can burn through your budget quickly if don’t you manage the ads carefully. But once you figure it out, this is a great source of new students.

Share student accomplishments on social media

Girl standing beside a pianoWhenever your piano students accomplish something noteworthy, share it via social media. Did a student just finish a level in their method books? Praise them on your Facebook page. Did a student earn a special certificate? Snap a picture and upload it to Instagram along with your congratulations. Are you hosting a fun contest or practice incentive for your students? Share it — you’ll quickly be known for your fun lessons. Do you have a recital coming up? Share it and invite your community to attend. Did your student love one of the improv activities you found on this site and create an awesome sounding song? Record them playing and then share it — this REALLY impresses people!

If you’d like to post photos or videos of your students, be sure to get written permission from the parents first, and it’s good practice to not include the students’ names for safety reasons. Pictures of smiling students are definitely the best when potential new clients are learning about your studio, but even if you opt not to post student photos, you can post other images or just text descriptions of the fun things you do and your students’ accomplishments.

Anything worth sharing should be shared and will help others become familiar with you and the high quality piano instruction you offer. Giving interested people a real look at what you do is a great way to get more piano students to sign up.

Join online neighborhood communities and city “yard sale” pages

My neighborhood has a Facebook group and it’s wonderful. Through this page, neighbors post things they’re giving away for free, warn each other about an aggressive door-to-door salesman, ask each other questions and share ideas. They also share what’s going on in their lives. You don’t want to be annoyingly self-promoting in these groups, but it’s a good place to at least let people know that you teach lessons and get connected with anyone who’s interested.

I was skeptical about the yard sale page. I didn’t even know there were city yard sale pages until a few months before I was going to be teaching a class for preschoolers at a music store in a neighboring town. I had no connections in the town, so I found the number for a piano teacher from the area to ask her if she had any students with younger siblings who might be interested. She said she’d be happy to help spread the word and also told me that she got several of her students through the town’s yard sale page. I decided to give it a try and post info about my new class. It worked and I got several students just from that simple post. It’s free and quick, so definitely worth a try!

Get More Piano Students through Your Website

WomanWorkingOnWebsite

Nowadays when someone has a question, what is the first thing they do? Google it.

Build a website so that when someone searches “piano teachers in [insert your city]” they will be able to find you. On my new student registration form, I include the question, “How did you find out about my studio?” About 25% say that they did a Google search for piano teachers in our city.

You can hire out a professional website or create a simple website yourself. If you opt to create your own website, sites like WordPress and Weebly are easy to work with and even have free options. Keep in mind that the design of your website should match the type of lessons you offer. So if you’re offering high-end instruction, you would likely want to hire out a professional design. If you offer more casual lessons then you can probably create a free site yourself.

Create a “My Business” Listing with Google

An even easier way to be found through a Google search is to create a Google “My Business” listing. It’s super simple to create your studio listing and you can find instructions on Google’s “My Business” page here. Listing your studio is free and Google claims that you can get it going in just 10 minutes.

You don’t even need a website to create a business listing with Google. This is the easy shortcut to being found through online searches. If you don’t have a My Business listing yet, I encourage you to set one up today!

Get New Piano Student Referrals through Your Local Music Store

MusicStore

Most music stores receive a steady stream of inquiries about music lessons. And for this reason, many stores keep a running list of local teachers.

One of the stores near me just asks for the teacher’s name and number and then adds them to their list. Another store near me asks that I bring in a flier with tear-off strips. I write about my studio in the upper portion of the flier and then print my name and phone number on the tear-off strips.

You can also inquire about becoming an in-house piano teacher. Some music stores have space available where you can teach. In most cases, there will be room rental or referral fees, but they’re often worth it because the music store will promote you and keep your studio full. And in many cases, the rates for piano lessons offered inside a music store are higher. They are higher to compensate for the room rental fees and because clients assume that there’s a high level of quality if the instructor is promoted by the music store. Be sure to deliver on this assumption of high quality, and you’ll be in a great situation.

Offer an Introductory Music Class for Preschoolers

Preschool age children in music class

This approach is golden. When you offer a class for preschoolers, some of these students will, without any effort on your part, want to advance into your private piano instruction. But before they ever become private students, you will be teaching them all the music fundamentals.

Can you just imagine what it would be like if your students had great rhythm and knew some basic note reading BEFORE they ever had their first piano lesson? It’s terrific! Students are more confident from the get-go and advance more rapidly. They are able to focus more on piano playing because they already know quite a bit about music reading.

And preschoolers are very capable of learning basic rhythm and music reading concepts. Plus teaching these little tykes is a ton of fun!

The other reason why this method is golden is because you get some insight into the student (and the parent). You’ll get a feel for the student’s temperament and if the two of you would likely work well together. You’ll also learn if the parent pays tuition on time and can get the student to class on time every week. You’ll know all this about the student before you invite them into your private lessons! If you begin offering a music class for preschoolers, within a few years you will have the best students you could imagine.

Use a Multi-Pronged Approach

Don’t put all your eggs in one basket — use as many of these strategies as you can. When you get all these client-getting systems running, you’ll have a steady flow of inquiries about your piano lessons. With time, you’ll find which strategies work best in your area and can then focus most of your attention on those avenues. Be sure to always ask how a new student found out about you and keep a record of their responses.

 


KristinJensen2

Kristin Jensen is a piano teacher, curriculum developer and author of the widely popular Piano Magic system. She loves helping piano teachers enhance their teaching skills and optimize their studios so they can use time efficiently, maximize profit and live a life they love. For more tips from Kristin on running a successful private music studio, as well as teaching resources and tutorials on composition and improvisation, visit MyFunPianoStudio.com.

The Inspiration behind ABRSM’s Bowed Strings (2020-2023) Syllabus

Guest post by ABRSM (Associated Board of the Royal Schools of Music)

ABRSMLogoAfter months of practice and anticipation, performing in a music exam can feel like an adrenaline-fuelled sprint to the finish line that passes in a blur of pieces, scales and musical tests. As an exam board, we know that exams can be stressful, and we at ABRSM want to make sure that learners’ exam experiences are as positive as possible. To make sure that learners can really succeed, we carefully select exam syllabus pieces that allow them to demonstrate their talents. We live for inspiring and challenging learners!

If a music exam is a sprint, then our experience of putting together an exam syllabus is more of an endurance event involving a huge amount of music. We take an open approach to our syllabus creations, and for ABRSM’s Bowed Strings syllabus (2020-2023) we: ran multiple surveys with teachers, learners and examiners; engaged a variety of strings consultants; and had several ruthless stages of revisions.

BoysDoubleBassRSMFor this Bowed Strings syllabus (2020-2023), we wanted to focus on the joy of playing with other musicians. Refreshing our syllabus as an instrument family for the first time since 1985 gave us the opportunity to encourage ensemble skills and re-think how our stringed instruments interact. Pieces such as Tchaikovsky’s haunting, melancholy “Chanson triste” appear for all four instruments at Grade 5, so learners can enjoy playing with friends. Our Initial Grade piece “Silent Friends” by Vamoosh series composer Thomas Gregory ensures that your learners can develop ensemble skills from the very beginning of their musical journeys.

GirlViolinEnsemble

We promise that when we put together a syllabus, we don’t just pick our favourite pieces! We are passionate about getting selection right because we know syllabus pieces can have a huge influence on learners and teachers alike. We admit that through the process some of the pieces we select naturally come to have a special place in our hearts. For the first time ever we have included a piece of music we found online! “Sakura,” in a solo arrangement by Japanese-Irish Canadian violinist and composer Maria Kaneko Millar first appeared on YouTube. The piece features on ABRSM’s Grade 8 violin syllabus, and we love that this find connects the syllabus to how many people now interact with music.

If “Sakura” represents a modern way of accessing music, “Echoes” by Marie Dare is a beautiful memento from the past. Marie Dare was a Scottish composer-cellist who, as a teenager, performed as a soloist in a World War I victory concert at the Royal Albert Hall in the presence of Queen Alexandra. “Echoes” was found by one of our consultants in the Scottish Music Centre’s archives as a handwritten manuscript, and we believe its appearance on the Grade 5 cello syllabus will be the first time it has ever been published or recorded.

Inspiration for ABRSM syllabuses can also come from the other instruments we examine. You might notice that some of ABRSM’s Singing for Musical Theatre syllabus songs feature here, too! On the violin syllabus alone, you can find songs from some of the biggest hit musicals: from Chitty Chitty Bang Bang (Grade 1) and Les Misérables (Grade 2) to The Lion King (Grade 3) and West Side Story (Grade 3).

We wish all your learners the very best for their exams!

StringsSyllabus_20-23_final3.jpg

What’s Changing?

What’s new:

  • Refreshed repertoire lists for all four instruments at all grades
  • More choice than ever before, with the lists extended to ten pieces (30 pieces in total per grade)
  • Duet option included for the first time — up to Grade 3
  • Cello exam pieces (Grades 1-5) published for the first time
  • New Initial Grade exam introduced — a pre-Grade 1 assessment following the same structure, content and assessment criteria as ABRSM’s existing graded music exams (three pieces, scales, sight-reading and aural tests)
  • All four instruments at Initial Grade supported with an Exam Pack publication containing nine pieces (three per list) from the syllabus, the scales requirements and sample sight-reading tests
  • A separate publication containing sample aural tests for the Initial Grade also available
  • Revised list structure
  • A focus on cross-string teaching at the lower levels with some of the same pieces being set for multiple instruments. For a list of these pieces see Compatible Pieces.

Syllabus validity:

The Bowed Strings syllabus 2020-2023 comes into effect on 1 January 2020. This means that:

  • Candidates can begin to present pieces from the new lists;
  • Candidates can continue to present pieces from the 2016-2019 syllabus lists during the overlap period (see below);
  • Scales and arpeggios, sight-reading and aural test requirements remain exactly the same as for the 2016-2019 syllabus.

Syllabus overlap:

From 2020 a one-year overlap period will apply worldwide. This means that all candidates can continue to play pieces from the 2016-2019 syllabus until 31 December 2020 (all pieces must be from the same syllabus).

New Initial Grade

Our new Initial Grade for violin, viola, cello and double bass is designed to help beginners measure their progress and celebrate their achievements.

The new Initial Grade is a pre-Grade 1 assessment following the same structure, content and marking criteria as our other graded music exams.

Initial Grade exam packs will be available for violin, viola, cello and double bass. Each book will contain a selection of 9 pieces from the syllabus, including a new commission for all four instruments to play together and many new arrangements.

Scales and sight-reading examples will also be included in the exam packs, and audio recordings will be available for all pieces from the books. A specimen aural tests book for Initial Grade will be available separately.

 


ABRSMLogoABRSM (Associated Board of the Royal Schools of Music) is the UK’s largest music education body, one of its largest music publishers and the world’s leading provider of music exams, offering assessments to more than 630,000 candidates in 93 countries every year. Its mission is to inspire achievement in music. A music publisher for almost 100 years, ABRSM continues to produce a wide range of high-quality sheet music, practice exam papers, instructional and reference books, and recordings to support music teachers, as well as students, from early learners to Diploma level and beyond.

New School Year, New Warm-Ups

Do your warm-ups need a tune-up? Are you looking for effective warm-ups that still leave you with plenty of rehearsal time? Would you like to strengthen your choir’s ability to sight-read while also warming their voices up in preparation for singing? Two birds with one stone, anyone? If you answered yes to any (or all) of these questions, Russell Robinson’s Quick-Start Choral Warm-Ups is for you! This practical resource has been getting a lot of attention from directors nationwide, and we don’t think it will take you long to see why.

 

To see this resource in action, check-out the video below!

 

Quick-Start Choral Warm-Ups:

  • Provides an easy and efficient way to begin each rehearsal.
  • Consists of twenty sequences, each consisting of four components (Warming Down, Warming Up, Diction, and Chordal) that prepare the voice and the mind for producing a beautiful choral sound. These sequences can be sung in order, one per day (Day 1, No1; Day 2, No. 2, etc.), or the director can choose to sing them out of order. They are not sequenced in order of difficulty.
  • Includes a Director Edition and Singer Editions. The Director Edition contains all of the vocal parts and piano accompaniments, in addition to a detailed introduction and User’s Guide. The Singer Edition, which includes the vocal parts, is octavo size, designed to fit comfortably in choral folders all year long. An Accompaniment CD is also available.

For more on Quick-Start Choral Warm-Ups or to purchase, click here

 

For additional music and resources from Heritage Music Press, click here

 

 

Dr. Russell L. Robinson, Emeritus Professor of Music Education at the University of Florida, has made over 300 appearances as a conductor, speaker, consultant and presenter at festivals, workshops, honor choirs, all-state choirs and state, regional, national and international conferences in the US, Europe, Asia, Africa, Central America, South America, Mexico, Canada, the Middle East, and Australia as well as conducting venues, which include: Carnegie Hall, Lincoln Center, the Kennedy Center, Boston’s Symphony Hall, the White House, and Washington’s National Cathedral. Dr. Robinson was the 2016 inductee into the Florida Music Educators Association (FMEA) Hall of Fame, and is a past President of FMEA, Associate Dean of the UF College of the Arts, National Collegiate Chair and Choral Adviser for the National Association for Music Education (NAfME). Dr. Robinson is a published author, composer and arranger with over 350 publications in print, including choral compositions, arrangements, articles, books, and instructional DVD’s.

 

Here’s a banner that could be used for the email:

 

New Resource for Choir Rehearsals: carus plus put to the test

A choir is a collective of different types of singers who approach rehearsals in very different ways: one can sing perfectly by sight, whilst another is always reliant on his or her neighbor. Some prepare for rehearsals at home, but most of the singers hope to get some direction from the conductor and practice their parts during rehearsals. Bringing together and shaping voices which have more-or-less secure intonation into a unified sound is a task which requires a lot of time and effort on the part of all involved.

In order to make this task easier, in recent years Carus has considerably expanded its range of new, motivating practice aids. Under the keyword “carus plus” practice aids are now available to suit the different needs of singers for over 70 works from the international standard repertoire – from Bach’s St Matthew Passion to many masses by Haydn, Mozart, and Schubert, and to Saint-Saëns’ Oratorio de Noël.

 

carus music, The Choir app

7331000u “How can we exploit the possibilities offered by new media to support individual practice for choral singers?”, asked Johannes Graulich, managing director of Carus-Verlag, and himself an active choral singer. As a response to this, carus music, the choir app was created in 2015, and has since gone on to become established as a helpful practice aid for thousands of choral singers. What is special about this app is not only the combination of music with an excellent recording, but in particular the so-called “coach”. If you select the coach mode, your own voice is reinforced by the piano as part of the overall sound, and through this it can be heard better as if you are in a rehearsal situation. As well as this, with the coach it is also possible to play pieces back at a slower tempo for practice purposes. “The app helps choral singers to learn the notes quicker so that I have more time for my interpretation”, is how conductor Klaus Brecht sums up practicing with the digital coach. He added, “when it comes to repeating passages, it is more patient than me; each singer can decide how he or she wants to use it.” Lots of singers in Brecht’s chamber choir Tritonus confirm that preparation for choir rehearsals is definitely more fun with carus music: “It was really fun to have the opportunity to practice the piece with the full sound at home”, one of the singers enthused. And one advantage which should not be underestimated – the choral singers, whose daily life is not exclusively devoted to singing, valued the straightforwardness of the app: “When you’ve got some free time you can have a quick listen, and you’ve got the music right there.” Those choral singers who learn their parts mainly by listening see the coach as an invaluable support.

Choral director Klaus Brecht regards the fact that first-class ensembles such as the Stuttgart Kammerchor can be heard on the app as a huge advantage: “Intonation is a strong reason to practice with the app, because you’re always practicing with a choir which has excellent intonation. And the difference between practicing with the piano is the fact that the singer is always surrounded by a very good choral sound, which hopefully soon filters down to him or her.” For choral singers a similar motivating argument: “I found my first listening to the piece super, because the recording is lovely and I always had the overall sound right there,” enthused one singer.

Here you could find all works with carus plus.

 

Carus Choir Coach – practice aids on CD

cover-medium_large_fileEncouraged by the enthusiastic reception of the choir app, Carus-Verlag gave further thought to the idea of the individual practicing: so that those who do not have smart phones or tablets can benefit from the coach, this is now also on offer in the form of practice CDs in the “Carus Choir Coach” series.

 

Vocal scores XL

cover-medium_large_file-1And we have responded to a frequently-heard wish from choral singers regarded printed music scores: for many works Carus also offers vocal scores in large print – the Vocal scores XL series – enabling, for example, singers with less than perfect eyesight to enjoy more relaxed reading.

Klaus Brecht’s chamber choir is convinced by the carus plus range without exception: “we’ve definitely saved two to three rehearsals with what everyone has done at home”, was one soprano’s opinion of practising with the app. And there was unanimity amongst the singers in the chamber choir, especially about the fun and motivation factor of carus music, the choir app, as one alto confirmed: “It’s really been fun to practise, because you can always hear this wonderful choir. And so I’ve certainly practised more than normal.”

What more could a conductor ask for?

 

 

15 Things You Need to Know About Supporting Your Child Learning to Play the Piano (via Elissa Milne)

 

via 15 Things You Need to Know About Supporting Your Child Learning to Play the Piano

Tom Gerou’s Alfred Music Workshop for Piano Teachers

 

Video description: Tom Gerou’s workshop for piano teachers presented at the San Francisco Community Music Center on February 1, 2018.

Link to earlier Sheet Music Plus interview with Morty Manus, co-author of Alfred’s Basic Piano Library: https://blog.sheetmusicplus.com/2016/02/04/sheet-music-plus-interviews-morty-manus-co-author-of-alfreds-basic-piano-library/

Lori Bastien’s Workshop for Piano Teachers

Video description: Lori Bastien’s workshop for piano teachers presented at the San Francisco Community Music Center on January 23, 2018.

Link to earlier Sheet Music Plus blog post: “Method Spotlight: Bastien New Traditions”: https://blog.sheetmusicplus.com/2017/04/20/method-spotlight-bastien-new-traditions/

Shop the whole Bastien New Traditions series at Sheet Music Plus.

Q&A: Everything is better with music — (via Oxford University Press)

Vanessa Reilly is a teacher, OUP author and teacher trainer. In this post, she answers some of the questions from her recent ‘Everything is better with music’ webinar. 1,248 more words

via Q&A: Everything is better with music — Oxford University Press

Piano Methods Correlation Chart

The Faber Piano Adventures Correlation Chart is a helpful resource for piano teachers because it shows what topics are addressed at each Piano Adventures level and how that corresponds to books in other piano methods series. For example, if you have a student who you just finished the Bastien Piano Basics primer book, you would start her with Piano Adventures 1B.

Piano Methods Represented in Chart:

To save a copy of this chart for your future use click here: Faber Piano Adventures Correlation Chart

Shop piano methods on Sheet Music Plus

 


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