September 2017
SOUNDTEACHING NEWSLETTER FOR LESSON TEACHERS @ MUSIC & ARTS
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Promoting Your Studio
Responding to Parent
Incorporating Your
Maintaining Students
Feedback
Students’ Interests Into
All Year
Their Lessons
Promoting Your Studio B Y G R E G T H O M P K I N S , S A X O P H O N E I N S T R U C T O R I N E L L I C O T T C I T Y, A R U N D E L M I L L S & T I M O N I U M , M D
earlier in the year, and got five students
investment of a few hours. Since email-
to return (Expert Tip: the store can print
ing the directors, between September
one master list for you).
to November, I completed seven clinics and picked up four new students.
Discussing this situation with my Regional Manager, District Manager, and
Here’s what I’ve learned:
Store Managers at the stores where I
1. There are plenty of band students.
teach, we came up with a plan. I would
2. There is more competition for stu-
participate in the first local event in my
dents (competitor stores and teach-
area in September (last year). At this
ers) than I originally thought.
first event, fourteen fourth graders at-
3. As Music & Arts teachers, we need
tended and two of them signed up for
to do more to encourage music stu-
lessons. Even though I was getting new
dents to take lessons. This can be
and returning students, I was still los-
achieved by:
Instead of waiting for students to sign
ing students because of new school
•
School clinics
up for lessons, we teachers can take les-
schedules.
•
Building relationships with lo-
son enrollment to the next level by actively recruiting students.
cal school teachers, parents, and It was time to take the next step. I ac-
students. They need to know
quired the email addresses of all the
that we’re available to service
I noticed last May that my students
band directors in my county where I
their needs.
stopped lessons earlier for summer vaca-
teach and sent them a mini bio. I also
tion than last year. The Store Managers
offered a free clinic for their groups.
and I tried to interest local band direc-
Within a week, I picked up eight clin-
tors in clinics to help teachers increase
ics. Since I’m a Yamaha clinician, I’ll get
lesson enrollment, but it was too late in
paid for a few of the larger clinics.
the school year. Then, I decided that the
•
Let everyone know you have available lesson openings.
•
Promote your services.
4. Ask Music & Arts staff to help you enroll students. 5. Document your activities; this in-
recruitment of students needed to be a
I’ve never considered doing free clin-
cludes meetings, along with contact
year round process. In August, I pulled
ics as a loss, if I get one student to take
information of new people.
my sign in sheets from May and called
lessons with me for a year, I could earn
6. Review actions and continue to
my former fifteen students who stopped
over $1,000. This is a great return of an
tweak progress.
G R E G T H O M P K I N S performs and resides in Baltimore, Maryland. He is an early Jazz and Commercial music graduate of Towson University, having received his Bachelor of Science in 1989. Mr. Thompkins has studied music with Hank Levy, Ron Diehl, George Garzone, and Denis Karp. In his 30-plus year music career, he has performed with All Mighty Senators, Lafayette Gilchrist, David Murray, George Garzone, Dave Ballou, Michael Formanek, and many others. He has recorded with Lafayette Gilchirst, All Mighty Senators, and his own groups. As a saxophone teacher at Music & Arts, his students have performed in first chair positions in their local school bands. In 2000 he became a Yamaha Artist. Several of his students have received music scholarships from Eastman School of Music, Towson University, University of Michigan, University of Maryland, and University of The Arts. Mr. Thompkins is the Music Director of The Baltimore Jazz Education Project (BJEP), which has raised over $140,000 to provide underserved Baltimore area children with free instruments and music lessons.
S O U N D T E A C H I N G | September 2017
Responding to Parent Feedback BY ROBIN RIDENOUR, M& A TRAINING MANAGER
Apply the LAPs Model
parents’ eyes, you are a representa-
can use for addressing parent concerns.
tive of Music & Arts. If their feed-
•
Listen – Actively listen to the par-
back relates to another area of the
ent’s concerns or needs.
company, assure them you will pass
Assess – Assess their situation
along their feedback appropriately.
based on the information you’ve
Be sure to follow up if you do.
been given, and your own expertise.
• When interacting with students, it is inevitable that at some point you will from parents. The manner in which you listen to and respond to this feedback is CRITICAL in developing and maintaining a positive relationship with the
either at the lesson or by phone/e-mail, be proactive about addressing the issue
issue is an opportunity to be “the hero” when you resolve it. •
•
If you won’t see them again in a reasonable time frame, contact them by phone.
•
Email, although convenient, should only be used if the first two options are unrealistic or ineffective.
yourself, do it. If you need help from
best solution for your student based
a store associate or manager, ask
on your assessment. Be careful not
for it. •
DON’T guess! Parents may come
you more than your student! Some-
to you with questions about M&A
times the best solution will not be
policies. If you don’t know the
what the parent initially asks for.
answer or a solution, promise to get
If you need to push back, provide
the answer. •
DO follow-up. Get back to your parent quickly about what you have concern. Be sure they understand
Parent Feedback
that their honest feedback is very
•
DO truly listen. Good teachers are
important to you, and ask them to
good listeners. If you hear the sound
let you know if any additional con-
of your own voice too much, you are
cerns arise in the future.
talking too much. • •
ents in person to resolve issues. If spot, do so!
Propose solutions – Propose the
Do’s and Don’ts of Responding to
Whenever possible, speak to paryou can address the issue on the
concern quickly and correctly by
done, or will do to address their
have heard about a parent’s concern proactive about contacting them. An
the right one?
your proposed solution.
and follow up as soon as possible. If you from the student or a store associate, be
DO genuinely try to resolve the issue!!! If you can address the
informed reasons and benefits for
family.
•
If they have a solution in mind, is it
to choose a solution that benefits
receive some constructive criticism
If the parent contacted you directly,
DON’T look to blameshift – In your
The LAPs model is an easy process you
•
Be Proactive
•
DON’T throw your colleagues under
DO accept their comments as op-
the bus! If their comments refer to
portunities to improve.
another teacher or M&A associate,
DON’T take it personally, and
don’t make disparaging comments
don’t get defensive. Everyone has a
about that person in an attempt to
different perspective and different
“take the customer’s side”.
perceptions that come with it. •
•
•
DO remember that your primary
DO take their comments seriously.
goal is to help the student feel
They may seem unimportant to you,
successful! When dealing with a
but they are of great importance to
parent situation, try not to allow it to
the parents. Always try to put your-
impact the student’s experience in
self in their shoes. Consider any
the lesson. Ultimately, the parent’s
issue with a sense of urgency.
satisfaction supports the student’s future success in lessons. S O U N D T E A C H I N G | September 2017
Incorporating Your Students’ Interests Into Their Lessons BY M I C H A E L K A M P E R , G U I TA R I N S T R U C T O R I N R E Y N O L D S B U R G , O H
on improvisation or composing can be
frustrating, I try to use these moments
harder to come by. Even more difficult is
as an opportunity to introduce my
finding a way to deliver that information
students to a wide variety of music they
in an interesting manner to a variety of
might not otherwise have access to,
age groups. The best way to combat this
building their repertoire and increasing
difficulty is to cater directly to a stu-
their comfort with various styles, while
dent’s musical interests. By focusing on
broadening their horizons. The import-
what students want to learn, the teacher
ant thing is to raise their confidence and
gains a pathway into these more compli-
help them shape their own goals. When
cated subjects.
students realize that their goals are taken seriously, they are more receptive to
When I start lessons with each of my
For example: I regularly ask my stu-
suggestions, creating a positive and pro-
students, whether they are just begin-
dents what they have been listening to,
ductive learning environment. Exploring
ning at school or are adult learners, I
and I learn the music by ear during the
the creative aspects of music is essential
tell them that a musician is anyone who
lesson. This is a great way to teach by
if a teacher is to produce a well-rounded
reads, writes, and improvises music. This
example, showing students what ears
student. I challenge even those of you
definition of “musician” is the concept
are capable of. After listening to the
who teach the more traditional orches-
I was given as a young student, and I
tune, we determine what they will learn
tral and band instruments to move be-
believe it is integral to music education.
based on their skill level. Beginners
yond etudes and cello suites to different
From this, my students learn that being
often learn the chords from the song
styles of music not typically explored
a musician isn’t exclusively about prow-
and maybe a strumming pattern. More
by students of your instruments. It’s an
ess on an instrument, but also creativity
advanced students learn the melody and
opportunity to learn not only different
and a desire to explore. Being a musi-
solo sections of songs. Then we analyze
styles, but to foster a love of improvisa-
cian is a mindset that can be adopted,
the song form and artistry, once again
tion and composing that will only serve
almost akin to the scientific method,
graded to the students’ age and abilities.
to cement the musical concepts they are
where students learn the importance of
Younger students get an explanation of
developing. In all modern languages,
hard work as well as experimentation.
how some chords sound good with oth-
learning to read also involves learning
Success is as much about trying new
ers, while older and advanced students
how to write. If we are teaching our stu-
things as it is about perfecting an etude
learn introductory theory. As we learn
dents the language of music, why would
or matching a musical style.
more tunes together, we take the skills
we ask for anything less than fluency?
and ideas from them and turn them into As a teacher, trying to form a curriculum
our own creations in the lessons, directly
with a goal of eventually teaching a stu-
learning from the music that inspires
dent how to improvise and write music
them.
can be especially difficult. There is a wealth of tools available to help teach
Of course, students regularly draw
a student how to play their instrument
blanks when it comes time to pick a
and how to read music, but material
song to learn or goal to aspire to. While
S O U N D T E A C H I N G | September 2017
M I C H A E L K A M P E R graduated from Capital University with a B.M. in Jazz Studies. He has performed in the Columbus, OH area since 2009 and currently teaches at the Music & Arts in Reynoldsburg, OH.
In the Arts with Laura: Musical Dyslexia BY LAURA ZOLFO, M& A REGIONAL LESSON MANAGER
pitch and timing of each notes’ perfor-
•
Incorporating sight reading into
mance. Music also uses symbols and
weekly practice will exercise all
text to indicate dynamics, articulations
the brain functions associated
and other performance cues. Lyrics
with playing an instrument, and
come into play as well, sometimes in
strengthen the synapses in the
languages not spoken by the performer,
brain.
adding another layer. These elements all
•
Some students may experience dif-
correlate to a physical response by the
ficulty responding to rhythms, pitch
body to perform the notated instruction.
or other independent elements of
Gordon proposes that these elements
music reading. Consider ways to
are interpreted by many aspects of the
isolate these elements and practice
I’ve always been intrigued when it
brain, which makes music reading truly
them independently.
comes to understanding why and how
a whole-brain activity.
things work, so it may come as no
•
Classical music instruction focuses heavily on music reading. Many mu-
surprise that I’ve enjoyed the Discovery
Understanding how each music reading
sicians are able to perform very well
Channel since I was a little girl. When
component is interpreted can help us
without developing strong reading
I stumbled onto an article presenting a
better understand various brain defi-
skills. Just as we are all strong in
case for Musical Dyslexia, the lifelong
ciencies. After suffering a stroke, Ian
certain subject areas (math, sci-
learner in me was instantly drawn in.
McDonald lost his ability to read music
ence, languages, etc.), a similar
but retained the ability to read text.
correlation can be made to areas of
There have been proven differences
Similarly, Russian composer Vissarion
strength in music. Consider ways
between two disorders: dyslexia and
Shebalin lost his language ability after
to challenge a student with a great
dyscalculia. Dyslexia is a word process-
suffering a stroke, but retained the abil-
ear, or one with amazing musical
ing deficiency in the brain. Dyscalculia
ity to compose music. This deficiency
expression abilities. Not all will be
is a deficiency in processing mathe-
lead to the therapeutic treatment called
great music readers.
matical symbols. If the brain processes
Melodic Intonation Therapy which is
these two languages differently, why not
essentially replacing speech with song,
I don’t necessarily need proof to know
musical text too? Neil Gordon, a pedi-
allowing a patient to communicate ver-
that music performance is a whole-brain
atric neurologist, proposed the idea of
bally. This points to interpreting music
activity. As musicians and educators, we
musical dyslexia in 2000 on the premise
and language as somewhat separate
practice music reading, and hone our
that different parts of the brain process
brain processes.
physical response to it regularly. We call
different elements of music notation.
it music interpretation and practicing So what does this mean for the Music
our instrument. What fascinates me
Unlike text, Western music uses spatial
Educator? It’s my belief that by study-
about this study is the chance to further
arrangement. The placement of notes
ing and acknowledging these findings,
understand how people learn music.
on the staff (pitch), combined with their
we can better meet the needs of our
In turn, we become better teachers and
symbols and arrangement on the staff
students.
ultimately better equipped to meet the
(rhythms), simultaneously communicate
needs of our students. S O U N D T E A C H I N G | Septmber 2017
Maintaining Students All Year B Y M A R K R A S M U S S E N , P I A N O I N S T R U C T O R I N P E A B O D Y, M A
M&A Regional Manager, Hannah Best,
As well, I always let the student pick the
M: “With all of my students, I make
music as there is so much out there. Ma-
sure that they know all of the major
rio Brothers has some very challenging
scales and have them do a scale sched-
music (they also have easier versions),
ule once they know them. Having them
but I do try and make sure they get a di-
do two a day for six days and on the sev-
verse variety of classics and some not
enth day, review anything they’re not
so well known composers such as Er-
certain of and working through this to-
nesto Nazareth’s Odeon from Brazil.
gether. I tell them that this is for life,
This is a composter I found through my
so you may as well learn them, and the
teacher and I try and incorporate what I
benefits are huge and now they have
learn immediately in my students, giv-
the knowledge to create harmony later
ing them insight I wish I had when I
on. I’ve starting having them do two oc-
was their age. I’ll play the selection for
taves with both hands as there is a lot
them and if they say they don’t like it, we
going on to get it right. As well, I have
move to the next song.
them doing triads and inversions as they
reached out to Mark Rasmussen to find
learn the scales. Once they learn all of
out what he does to maintain students,
I also try and show by example, stating
the major scales, I will have them do the
regardless of the time of year.
that the learning process isn’t the same
extensions to Major 7, Dominant 7, Mi-
for everybody. Right hand, left hand, and
nor 7, half diminished, and fully dimin-
then both hands. I also get them playing
ished chords around the circle of fifths
approach to starting a relationship with
both hands as soon as their second les-
(I go the opposite through the cycle of
a new student once you begin lessons?”
son, as they realize early on that this is
fourths). This gives them the tools to un-
how you play piano so that the bar is set
derstand composition, i.e. Moonlight
high from day one.
Sonata, having a diminished arpeggio
H: “So tell us, Mark, what is your initial
M: “I teach every student as the most important person once they enter my
I look at them and say, see this is not
studio. There is no best student and this
I think that sometimes people play down
rocket science, they are simply using
offers me the opportunity to connect
the intelligence and ability of children,
the harmony that you already know and
with them on a very personal level.”
and I teach kids as young as five. They
this empowers them to write their own
may need to be taught a little slower, but
compositions.”
H: “How do you keep the students motivated after lessons have been going on for a couple of months? What are some of your best practices?”
can still be taught and learn. By six, they are way ahead of the curve.”
H: “I love your thought about teaching
H: “I like the idea of having a regular schedule for the students. Seems like that would make it easier for them to
young children. To view the individual
know what to prepare and what to ex-
student’s abilities vs. their age to deter-
pect at each lesson, and it’s balanced so
ous, but it’s not just telling them you can
mine their learning capacity is the right
that they’re not working solely on scales
do it...I sometimes make them imagine
approach. What are some of your other
without songs from lesson to lesson. Do
three years from now, asking what they
goals and items you’re including in your
you have any tools, method books, or
wish they would have done more, play
lessons that you believe lead to high
apps that you use in your lessons?”
video games or practice?
retention?”
M: “Encouragement seems very obvi-
S O U N D T E A C H I N G | September 2017
M: “I use technology. One of my favorites is the Music Tutor app. It’s a quiz that asks the student what note it is displaying…if they can get thirty correct in a
The last thing I want to mention is that
nine notes, but I’ve discovered that he
I also use the Mark Levine’s book when
has perfect pitch and doesn’t even need
I’m teaching jazz as a strong method
the cadence!
option. As well, I use an array of other things, like YouTube for music listening.
My goal is to truly take interest in what
to anywhere they would like.
I also do ear training. Its amazing that
the student wants to learn and mold the
some kids who can’t name one note (af-
lesson around that student’s individual
I’ve also just begun working with a stu-
ter a cadence in C), develop that muscle
interest. This will help them stay moti-
and work up to seven and eight notes. I
vated, and they’ll continue in lessons.”
minute, I give them a $30 gift certificate
dent interested in film composition, so we will be using a text by Richard Bel-
have one ten year old that can do up to
lis, recommended by a friend and film composer in Los Angeles. As well, I will use my network base of musicians and composers to supplement my teaching. In addition to film composition, I have a student that is interested in live sound. As a professional musician, I run sound, so I try and give the student the full spectrum of what it is to be a musician and a performer.
N E W T E AC H E R O R I E N TAT I O N U P C O M I N G O R I E N TAT I O N DAT E S : Friday, October 20th @ 3pm EDT (AD HERE) Monday, November 20th @ 1pm EST Seminar phone number: 800-531-3250 Conference ID: 3860306 RSVP: e-mail lessons@musicarts.com
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We’re offering our lesson customers 15% off for the month of September!
ATTENTION ALL TEACHERS: We’re updating our teacher profiles! If you don’t have a teacher profile or have attempted to get onboard before, please send us your current email to lessons@musicarts.com. If you’ve changed your email address, but haven’t updated it with us, please let us know at lessons@musicarts.com.
S O U N D T E A C H I N G | September 2017
Inside the Lesson Studio with Hannah BY H A N N A H B E S T, M & A R E G I O N A L L E S S O N M A N A G E R
tent. The best thing to do is to speak to your manager about the concerns that
two students. Is there anything I can
municating directly to the manager can
do to change that?”
to make our program stronger. Here are
rate. What do I need to do?”
A “I’m glad you asked about this! This is fairly simple. Here are the steps: 1. Speak with your Store Manager about the increased rate. Once you’ve talked to them, they will produce a form and will update your information with the new rate. 2. Once you have signed this form the Store Manager will send it to HR. From here, HR will submit letters to your students informing them of the new rate change. Please note that the rate change takes 45 days to become effective.”
about 3 months and still only have
you have regarding your schedule. Comshed light on the things that we can do
Q “I’m about to increase my lesson
Q “I’ve been teaching at M&A for
A “’Thank you for sending in this
some tips to help with scheduling:
question. The goal for any new teacher
1. Understand the lesson board. Each
once they’ve started at M&A is to have
tag and color represents something
three to four students within 90 days.
specific. Ex: A date over the stu-
There are a few things you can do to
dent’s name could mean that your
increase your student count:
student is going to be absent on
1. Participate in an in-school clinic at
that specific day. Ask a member of
a nearby public school or private
the sales team to show you how the
school. This is a great way to attract
lesson board works.
students to lessons at your store and
2. Communicate often. Speak with
specifically to you. Work with your
the sales team regularly. If you need
Store Manager and Ed Rep to get
to reschedule a lesson or schedule
the process started.
a make – up, please let your sales
2. Perform at your local store’s events
team know. This can ensure that
and in the community. When you’re
they are up to date on any changes
performing, introduce yourself and
they need to make to the lesson
let the audience know that you’re a
board (Ex: Putting a tag on the
teacher and accepting new students.
board to book a make-up lesson)
This is a great way to promote
and are able to better manage the
yourself.
schedule. 3. Keep records. It is always a good
3. Really get to know the employees in your store. I say this all the time
business practice to keep personal
and it holds true! When the sales
records of your lessons. We file sign
team is aware that you’re actively
I noticed that I had a new student and
in sheets from every lesson in the
seeking students, and the types of
missed a call from the store. What
back room by teacher name and
styles you really like to play, they
can I do to stay better informed of my
month so that we can check atten-
will be on the lookout for these
schedule?”
dance as needed. However, it can
students. Ex: You play all styles,
be very helpful for teachers to have
but enjoy playing bluegrass in your
a record too so that we can ensure
spare time, if a customer comes in
that our records match yours.”
looking for a bluegrass specialty
Q “When I arrived at the store today,
A “This is a very good question. It can be tricky to ensure that the communication flow from the store to you is consis-
S O U N D T E A C H I N G | September 2017
teacher – you will come to mind!”