Music & Arts | Sound Teaching | September 2017

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

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Let everyone know you have available lesson openings.

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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-

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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.

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If you won’t see them again in a reasonable time frame, contact them by phone.

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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.

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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.

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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

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Be Proactive

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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.

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•

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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-

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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

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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.

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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!”