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  <a href="/blog/blog/7642324/the-3-stages-of-piano-teaching-from-survival-to-student-centered-success">The 3 Stages of Piano Teaching: From Survival to Student-Centered Success</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/33384518c8d9e593ca8beb3892d5611901d1592a/original/whirling-leaves.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" alt="whirling leaves" height="340" /><p>I was teaching out of one of the Faber Piano Adventure books the other day and came across “Whirling Leaves,” which I have taught many times before. Something about seeing it again reminded me of my first time trying to teach it to a student, and the ensuing struggles to master the rhythm. <o:p></o:p></p><p>The piece is not that difficult: a left-hand accompaniment pattern that repeats, beginning by itself and then gradually bringing in a simple right-hand melody over the top. But inevitably kids get the counting wrong the first time they read it, and by doing so they establish a [bad] habit of playing the incorrect rhythm <i>every single time</i>. <o:p></o:p></p><p>An experienced teacher knows this about this particular piece and will “frontload” the student with information to make the first reading a success: Play the piece for the student so he can learn how it is supposed to sound; count and clap the rhythm together; have the student write in the beats; practice playing just the left hand and counting aloud until the rhythm is mastered. But a beginning teacher does not always anticipate what challenges a particular curriculum/piece of music might present, especially to a student who lacks the background knowledge needed to be successful. Further, a beginning teacher often has limited strategies for addressing challenges as they come up.<o:p></o:p></p><p>Are you aware of the different stages of teaching we go through, the normal path of growth and development for a teacher? When I went through my teacher training to become a certified public-school teacher, I learned that there are three stages every new teacher goes through (whether new to the profession or new to a particular grade level or curriculum):<o:p></o:p></p><ol>
<li>Teaching with a focus on me – How do I get through the day? What am I supposed to be doing? What are others thinking about me?<o:p></o:p>
</li>
<li>Teaching with a focus on the curriculum – What am I teaching? How can I adequately explain what needs to be taught?<o:p></o:p>
</li>
<li>Teaching with a focus on the child – What does the child need? Is my instruction reaching him? What does she understand, and where is she still struggling? How can I adapt to meet his learning needs?<o:p></o:p>
</li>
</ol><p>Each stage can take a year or so to move through, through no fault of the teacher. It is just how things tend to work! <o:p></o:p></p><p>Which of the above stages do you most identify with currently? <o:p></o:p></p><p>If you’re at #1: Be encouraged, knowing that all of us start at this stage! Rather than feeling self-conscious about your teaching, be assured that you have something to offer. Be willing to learn from your mistakes. As you approach each lesson, review what the student already knows and build on that foundation. If things aren’t working, don’t be afraid to stay with a piece for a few weeks, or even to review old pieces to solidify concepts. Try different things. Reach out to a colleague if you’re not sure what to try. Know that as time goes on, you will refine your teaching and hone your skillset.<o:p></o:p></p><p>If you’re at #2: You’re starting to think more strategically about content. Lean into this time! Research best practices in teaching. Take a pedagogy class, listen to podcasts, follow a blogger. Choose a method and stick with it; learn its strengths and weaknesses and supplement where you need to. Although not strictly related to pedagogy, you might find some helpful resources in my article on <a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7458999/professional-development-for-pianists-books-and-listening-recommendations" target="_blank" data-link-type="url"><strong>Professional Development for Pianists</strong></a>.<o:p></o:p></p><p>If you are at #3: You’re comfortable with your teaching materials (method, anthologies, technique) and ready to really consider how to address specific needs of students. Be intentional about finding music that both highlights their strengths and challenges them to grow. At least once a year, reflect on where each student has been and where you would like them to go. Check in with parents to give and receive feedback on lessons and practice. Experiment with different ways of explaining the same concept. Join a good piano teacher group on Facebook and participate in the discussions, use the search function within the group to explore specific topics, and be open to learning new ways to teach effectively. Some well-moderated groups include Professional Piano Teachers, The Art of Piano Pedagogy, and Piano Teacher Central.</p><p>Wherever you are at in your teaching journey, I hope you are enjoying the process of discovery and growth – both in your students and in yourself! I don’t think any of us ever “arrive,” but we can definitely refine our skillset and become better communicators and educators if we are willing to commit to a lifetime of learning!</p><p>I am offering a mini-course this fall on <strong>When the Method Book is Not Enough</strong>, all about evaluating the curriculum you're using and how it fits your particular students' needs. We will discuss ways to supplement your current method books or transition out of them altogether. My goal is to give you a better understanding of what method books can and cannot accomplish as well as an assortment of tools and resources to curate the best books for motivating and engaging your students. If this topic interests you, <a class="no-pjax" href="https://coribelle.com/when-the-method-book-is-not-enough" target="_blank" data-link-type="url"><strong>click here</strong></a>!<o:p></o:p></p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-10-02T12:11:23-07:00" title="October 02, 2025 12:11">10/02/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67314">Beginner piano</a>, <a href="/musical-reflections/blog/blog_categories/67315">Intermediate piano</a></p>
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  <a href="/blog/blog/7638118/what-an-intermediate-piano-lesson-looks-like-in-my-studio">What an Intermediate Piano Lesson Looks Like in My Studio</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/a122397be59f90d9ae98dd86460fa08c141ce58a/original/piano-9434692-640.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="498" /><p>The Intermediate stage of piano lessons is quite variable. It can range from 3-6 years, or even more, of study, and spans a wide range of repertoire. For my purposes here, I will define it as the time beginning when a piano student has received 3-4 years of instruction, can comfortably sightread simple music hands together in C, F, G, and D major (and their relative minors), has an understanding of major intervals and primary triads, and has developed some independence in practicing at home, and extending to the time when the student has developed proficiency in a wide variety of literature and is ready to move on to advanced technical and interpretive challenges. Generally, the intermediate student has some fluency at the keyboard and is ready to begin working on more difficult music and exploring musical expression and interpretation rather than “just doing what the teacher says.”</p><p>I offer 45-minute lessons to Intermediate students, as 30 minutes is just not enough time to dive deeper into the music they are learning. My 45-minute lessons are generally structured in this way:</p><ul>
<li>Technique (scales and chords from the Royal Conservatory of Music's program)</li>
<li>Repertoire - old and new, in various stages of progress</li>
<li>Theory - used to be RCM's resources, but this year I am loving Mark Sarnecki's Elementary Music Theory and Essential Music Theory books!</li>
</ul><p>I often ask students <strong>what they want to start with</strong>. I like to give them the option of “showing off” what they have learned in a particular piece or jumping to something they really want help on. Other times, I will pull out a simple duet book and we will start a lesson by sightreading a duet or two together (SO FUN! And such good practice for these kiddos!) There are also times when I really want to make sure we address technique or theory, or a particular piece of music, and I will choose. But I like giving students autonomy over “what we do first” whenever I can.</p><p><strong>Technique</strong> is so important for these students. I often get intermediate students who are transfers, and what is most often lacking is solid technique. So we discuss posture at the piano, using our whole bodies to play (not just the fingers!), proper hand position, and the importance of playing without tension. We address a lot of technique within the music itself, like wrist rotation and accomplishing “jumps” side-to-side rather than up-down, but I also want my students to be very familiar with major and minor scales and chords in every key. We talk about how learning the correct fingering for scales and chords in inversions and arpeggios gives us tools that will help our playing, because then when we see scale passages or arpeggios in a piece of music, our fingers already know where to go! Our students need to recognize these patterns in their music as they grow in their reading skills.</p><p><strong>Repertoire</strong> is so varied in this group, but I do like having one book that forms our “core." For students who are interested in classical music, I'll use one of the Faber Piano Literature anthologies. (I also like the RCM Etude books as part of our “core.") For students who are interested in playing in a worship band at their church, I'll use Donna Gielow McFarland's Worship at the Keys, as well as music that their church is playing. The rest of their repertoire I choose based on their interests - a book on sonatinas, a fake book with lead sheets, Celtic music, hymn arrangements, musical theater anthologies, music by a favorite composer, and so forth. </p><p>Students are often working on 3-5 pieces at a time. I like to assign one piece that can be learned and mastered in a week, another few that will take a little longer, and then a “stretch” piece. Additionally, if the student needs to have a lot of “quick wins,” I will choose pattern-based music like Juan Cabeza's Diversions. It is important that not everything is hard. Our students, just like us, need to have music that they can play easily for enjoyment <i>as well as</i> music that takes focus and discipline to master. Finding balance between the two is the sweet spot and the “secret” to motivating students to practice.</p><p>Beyond learning correct notes and rhythms, we also work a lot on expression - paying attention to the form of a piece, differentiating between repeated material, attending to articulation, breathing between phrases, developing beautiful singing lines, and so on. Sometimes we will work together to create a “story” narrative of a piece, to get the student thinking in terms of beginning, middle, end, or tension-resolution. I want my students to not only learn how to play the instrument, but also to learn to listen to themselves and really begin to “sing” at the keyboard. These things take time to develop, and usually begin by strict imitation of what I'm doing. Gradually, students begin to take risks and develop some ownership of their pieces. This is when lessons get really fun! </p><p><strong>Theory</strong> is another important component to lessons and the students' theory books give us an opportunity to discuss why music is notated the way it is. Music is an aural art, but to pass it on to a wide audience it needs to be written down. For a full comprehension of how music works and why, our students need theory <i>and</i> performance practice.</p><p>The intermediate stage of lessons can quickly become really fun or really hard. I find that with good music selection, giving students choices, and making sure they are able to have a “win” every week (a scale learned, an easy piece mastered, or a fun time playing a duet with me), students stay engaged and enjoy lessons. (And hopefully they enjoy some of their practice time at home, too!)</p><p>Let me know what you love about your intermediate lessons! What is still hard? Let me know in the comments.</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-09-23T08:00:00-07:00" title="September 23, 2025 08:00">09/23/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/67315">Intermediate piano</a></p>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7635578/working-with-the-choir-director-a-choral-accompanist-s-guide-to-professional-collaboration">Working with the Choir Director: A Choral Accompanist’s Guide to Professional Collaboration</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/51f396ca80046caaf7fa5c80b1680285e3a53945/original/sofnw-500px.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="357" /><p>Working as a choral accompanist can be very rewarding. There is nothing like supporting a group of singers from behind the keyboard: helping them to learn their parts, encouraging their progress, and then enjoying the fruits of our labor as we accompany them in concert. Carrying out a director's vision, anticipating what he/she is going to do before he/she does it, and contributing to the overall excellence and beauty of the music can be incredibly fulfilling. However, there are times when we work with directors and our personalities don't mesh well, communication is difficult, or maybe we are the better musician. Rather than cut ties and run, it can be worthwhile to try and make things work, especially if we are invested in supporting the choir members. Here are some ideas for how to remain professional and keep the peace while working in a less-than-ideal situation:</p><p><span class="text-big">Make it your goal to make the conductor look good.</span><o:p></o:p><br>o    Don’t draw attention to the conductor’s mistakes (dropped beats, defining an Italian word wrong, bringing the choir in a whole measure early/late)<br>o    Always follow the conductor!<br>o    Anticipate what the conductor is going to say and be ready (the choir missed an entrance, prepare to go back)<br>o    Be professional. Rehearsals are not the time nor place to air grievances about the director or about the members of the choir.</p><p><span class="text-big">Address any concerns privately. </span><br>o    Ask, “Can you clarify when you want me to start? Will you give me a preparatory beat, or an entire measure, before you want me to come in?” “What tempo do you prefer here?” <br>o    If a collaboration during rehearsal isn’t working, assume it is a misunderstanding on your part. Try to clear it up by asking questions of the conductor.<br>o    It is normal to feel overlooked sometimes, or not acknowledged (although a good director will express gratitude for your work) – that is part of the job, and if you have done your job well the choir will know their parts and sing musically whether or not you end up performing with them in the concert and whether or not you are publicly acknowledged. However, if there is a clear issue of disrespect, where the director is continually pointing out mistakes publicly or disparaging you, and you have tried addressing it in private to no avail, it may be time to cut ties and find another choir.</p><p>Being a choral accompanist means contributing to the success of the choir, and this requires professionalism and respect in our interactions with directors. Even in less-than-ideal circumstances, our professionalism and artistry can make a lasting impact. By choosing grace over grievance and collaboration over conflict, we not only support the choir’s success but also have the opportunity to grow as musicians and colleagues.</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><br><o:p></o:p><o:p></o:p><o:p></o:p><o:p></o:p></p></div>
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    <p class="post-info"><span data-time="2025-09-18T07:00:00-07:00" title="September 18, 2025 07:00">09/18/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/37001">Choral music</a>, <a href="/musical-reflections/blog/blog_categories/37002">Accompanying</a></p>
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  <a href="/blog/blog/7634265/beginner-piano-lesson-games">Beginner Piano Lesson Games</a>&nbsp;
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  <div class="message"><p>Playing games in the piano studio is a great way to introduce and review concepts, change the pace of a lesson, and have fun around music! </p><img src="//images.zoogletools.com/s:bzglfiles/u/51313/7510d6ca2de4d7a80f10b1232a1bbd47293cb36e/original/girl-4260884-640.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="427" /><p>I especially like working games into lessons with my younger beginner students: playing with animal erasers, getting off the bench and onto the floor, and sometimes introducing a wee bit of competition! (Watch this with your young ones, though - often a cooperative game will be a better choice for preschoolers.)</p><p>Some of the concepts beginners need help with are:</p><ul>
<li>Left and right</li>
<li>Finger numbers</li>
<li>Musical alphabet</li>
<li>Names of the keys on the keyboard</li>
</ul><p><strong>Left and Right</strong></p><p>First, establish how a student will tell their right hand from their left. Sometimes we refer to a student's hand as “the hand you write with” or “the hand you throw a ball with.” I like to have students put their hands in the air in front of them, facing out, and form an “L” in each hand using their thumbs and pointer fingers. Only the left hand will form a proper “L” for “left.”</p><p>Play a simple Simon Says game, where you call out directions and the student puts their left hand on their ear, or their right hand pats their shoulder, or their left hand touches their shoe, etc.</p><p><strong>Finger Numbers</strong></p><p>Do a simple “finger warm-up” where the student puts his hands in the air in front of him, and then you call out fingers to wiggle: “Wiggle your ones” (thumbs), “wiggle your twos,” and so forth.</p><p>Trace the student's hands on a piece of paper. Toss a pom pom, cotton ball, or penny on the paper, trying to land on a finger. Ask the student to name the hand (left/right) and the finger number that the object landed on. If you'd like, have the student label the finger number with a pencil. Continue playing until all fingers have been labelled.</p><a class="no-pjax" href="https://coribelle.com/product/1141989-musical-alphabet-train" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/39a211f9c805887e68355c44962a634822757035/original/musical-alphabet-train-1.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" alt="Musical alphabet train game beginner piano" height="1545" /></a><p><strong>Musical Alphabet</strong></p><p>Students can practice their musical alphabet forwards and backwards with <a class="no-pjax" href="https://coribelle.com/product/1141989-musical-alphabet-train" target="_blank" data-link-type="url"><strong>this simple train game</strong></a>! Additionally, they can practice finding “what comes next” and “what comes before” when given two consecutive letters of the alphabet.</p><p><strong>Names of Keys on the Keyboard</strong></p><a class="no-pjax" href="https://coribelle.com/product/1012213-animal-rescue-and-race" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/0638d94f9e7122eacf21831f0e4d3f2e56d4f862/original/animal-race-to-the-top.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" alt="Animal rescue and race beginner piano game printable" height="2000" /></a><p><a class="no-pjax" href="https://coribelle.com/product/1012213-animal-rescue-and-race" target="_blank" data-link-type="url"><strong>Animal Rescue and Race </strong></a>is a set of two beginner piano games that teach keyboard geography and direction.</p><p>In Animal Race to the Top, students construct a paper keyboard on the floor and then choose letter cards to race animals from bottom (left) to the top (right) of the paper keyboard. </p><p>In Animal Rescue, animals are running loose in the zoo! Students must draw a letter card and put the animals back in their proper “cages” by finding the corresponding keys on the keyboard.</p><p>Of course, you can play both of these games right at the piano, too! But if your students are anything like mine, they will enjoy an opportunity to jump off the bench and play a game on the floor for a few minutes at the end of their lesson. (Maybe you will, too!)</p><a class="no-pjax" href="https://coribelle.com/product/991605-penguin-piano" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/9b81dee14b911347e803c5e797a8fd49ce7e1203/original/penguin-piano-ad-page1.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" alt="Penguin piano build a keyboard printable game for beginner piano students" height="2000" /></a><p> </p><p><a class="no-pjax" href="https://coribelle.com/product/991605-penguin-piano" target="_blank" data-link-type="url"><strong>Penguin Piano</strong></a> is an extension of this activity. I like to use it as a take-home assignment that follows our games of Animal Rescue and Race. Students can take home one worksheet to cut and paste, or they can take home two sheets and race a parent or a sibling to form a proper keyboard with labelled keys.</p><p>You can find these last 3 games <a class="no-pjax" href="https://coribelle.com/piano-teacher-resources" target="_blank" data-link-type="url"><strong>in my shop</strong></a>, as well as other resources for teaching piano! All come with a studio license, so you can print as many copies as you need for your students.</p><p>What are some of your favorite games for beginning piano students? Let me know in the comments!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-09-15T20:32:29-07:00" title="September 15, 2025 20:32">09/15/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/62032">Digital downloads</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/62034">Printables</a>, <a href="/musical-reflections/blog/blog_categories/62035">Games and activities</a>, <a href="/musical-reflections/blog/blog_categories/67314">Beginner piano</a></p>
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  <a href="/blog/blog/7631273/what-a-beginner-piano-lesson-looks-like-in-my-studio">What a Beginner Piano Lesson Looks Like in My Studio</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/fb50965aa1b1d3cfbcd53bc8cd58b04686dbfc8d/original/piano-lesson-4622218-640.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="427" /><p>Do you ever wonder what other teachers do in their lessons? I do! </p><p>I thought it would be fun to share what a beginner piano lesson looks like in my studio for kids ages 6-9. For this age group, I tend to start with either the Faber Piano Adventures series or the Alfred Premier series. Both methods are pretty similar with plenty of explanation to guide non-musical parents in helping their children at home. They start with off-staff notation on black keys and then move to C major 5-finger positions. I use the Lesson Book, Performance Book, and Theory Book.</p><p>Each lesson starts with a <i>brief conversation</i>. I greet the student, ask how their week is going, and then we chat briefly about how school is going, what new book they are reading, how my dog Jasper is today, or anything else they want to tell me! </p><p>Then I ask them to <i>play their assigned songs</i> from the week before. Usually students have mastered these simple songs, and they receive a sticker in their book and an “X” on their <a class="no-pjax" href="https://coribelle.com/product/1029797-piano-opoly" target="_blank" data-link-type="url"><strong>Piano-opoly board</strong></a><strong>. </strong>Often I will choose one of their songs to play the suggested duet accompaniment with, and we play together. (This is a wonderful way to help students prepare for performances - playing through music without stopping - and to practice a steady beat. And, it's fun!)</p><p>We then move to the <i>next song in their book </i>and I teach any new concepts as well as how to play the song. We will go through 2-4 songs together, depending on how quickly the student grasps the new information. I want to be confident that they have the information they need to go home and practice the music without me!  </p><p>At this point, if I notice the student needs more practice on a concept, or simply another piece or two to play at the same “level,” I will pull out the<i> Performance book</i> and teach and assign a song or two from it. My beginners don't play in formal recitals, but we do prepare for informal performances for peers at our quarterly group lessons. They may play a piece from the Performance Book or from their Lesson Book at these meetings. Essentially, I use the Performance Book as another resource to reinforce concepts from the Lesson Book. We may or may not cover all the music in that book.</p><p>The last 5 minutes is dedicated to <i>music theory</i>. We talk through the theory concept in the book and I may even have the student begin the exercise to make sure he understands how to do it, and then I assign the corresponding pages to the Lesson Book for their take-home assignment.</p><p>That's it! Our 30-minute lessons fly by, the students know what to expect, and we are able to go at a nice pace in this manner. Sometimes I will supplement with a game from my <a class="no-pjax" href="https://coribelle.com/piano-teacher-resources" target="_blank" data-link-type="url"><strong>shop</strong></a> or something that I have found online, either because we have covered the music that I want to in the lesson in a shorter amount of time, or I'm finding that the student needs more practice with a concept. Or sometimes, I just want to mix it up and start a lesson off with a game because it's fun!</p><p>What do your beginner lessons look like? Let me know in the comments!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/67314">Beginner piano</a></p>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7631269/how-to-write-a-good-piano-studio-policy">How to Write a Good Piano Studio Policy</a>&nbsp;
</h2>

<div class="post">
  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/53b047d6aaaa99dbab9988f50d0d225a2ba5e4fe/original/notebook-2386034-640.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="427" /><p>How many times have you set your piano lesson schedule and explained how missed lessons work, only to have a parent come to you asking for something <i>other</i> than what you offer? For example, perhaps you teach from 3-7pm Monday-Thursday, but a parent asks if you can teach at 7:30pm…or if you can teach their child on Fridays? <o:p></o:p></p><p>Does this give you pause? Do you hesitate in a scenario like this and end up giving in because you could use the money or you want others to see you as gracious and flexible? I have been there! But it is not a good place to be. Going outside of the parameters you have set for your piano studio can cause regret and end up causing resentment. There’s a better way!<o:p></o:p></p><p>Having a good studio policy in place can prevent many such discussions - and more - but you must be clear about what you offer and then <i>stick to your policy</i>. <o:p></o:p></p><p><span class="text-big"><strong>What is a studio policy?</strong></span><o:p></o:p></p><p>Simply, a studio policy is a document that states what taking piano lessons with you looks like, from which days and hours you teach to how you handle missed lessons to how you handle payment. It also gives information about your expectations for practice and lesson attendance. And it explains what you teach and why you structure the lessons the way you do.<o:p></o:p></p><p><span class="text-big"><strong>How do I create a studio policy?</strong></span><o:p></o:p></p><p>You can start by writing a 1–2 page document stating what you offer and what your expectations are. A good studio policy will include the following elements:<o:p></o:p></p><ol>
<li>Your philosophy of teaching (how and why you teach)<o:p></o:p>
</li>
<li>Who you teach <o:p></o:p>
</li>
<li>When and where you teach<o:p></o:p>
</li>
<li>What kinds of lessons you offer<o:p></o:p>
</li>
<li>How you accept payment<o:p></o:p>
</li>
<li>How you handle missed lessons<o:p></o:p>
</li>
<li>What your expectations for students (and parents) are during lessons and in at-home practice<o:p></o:p>
</li>
</ol><p>I introduce my studio policy to everyone who interviews to be part of my studio. After the interview, a printed copy goes home with the parent along with a copy of my studio calendar and a contract for payment. In order to secure lessons with me, the contract must come back signed by both parent and student, indicating that they agree to my policy and terms for payment. (An additional printed copy of the policy and studio calendar go in each student’s binder. Learn more about how I use binders<a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7617767/what-s-in-my-student-piano-binders" target="_blank" data-link-type="url"><strong> here</strong></a>!)<o:p></o:p></p><p>Having a clear policy in place shows parents that you are a professional and have parameters around how you run your business. After the initial expectations are stated, the policy becomes a tool that you can refer back to when questions come up concerning payment, missed lessons, practicing, and so forth. When you are asked to make an exception, you are free to be flexible, but you are also free to gently but firmly refer back to the policy with “No, I’m not able to do such-and-such; instead, this is what I offer.” <o:p></o:p></p><p>Having a good policy in place and the determination to hold fast to the expectations you set for the studio can resolve many potential conflicts and help you focus your time and energy on teaching!<o:p></o:p></p><p>What are some boundaries you have set in your studio policy that have been helpful in your studio? Let me know in the comments!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i><o:p></o:p></p></div>
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    <p class="post-info"><span data-time="2025-09-09T17:16:35-07:00" title="September 09, 2025 17:16">09/09/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67314">Beginner piano</a>, <a href="/musical-reflections/blog/blog_categories/67315">Intermediate piano</a></p>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7628056/how-to-practice-the-piano-as-an-adult">How to Practice the Piano as an Adult</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/4a6a46fa1b3202c6da1ed8ca74e115a8707acff0/original/dsc0233-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" alt="How to practice the piano as an adult" height="3232" /><p><strong>Commit to doing one thing better.</strong></p><p>That's it: one thing! What is the one thing you want to have accomplished today at the piano?</p><p>We can easily over-complicate things as adults. We think we need to come up with a warm-up routine, or read through a whole piece from start to finish before we start practicing, or…[fill in the blank]. But often we just need to <i>commit to doing one thing better</i>.</p><p>I must admit: my summer was not filled with much practice time at all! Instead, I spent time with my three teenaged daughters, taught piano lessons, worked on some product development, and spent time evaluating and honing systems in my music studio. So when I returned to the piano last week, I had some decisions to make! What music do I want to study this season? What performance goal am I working towards? Which piece will I work on first?</p><p>I picked up some music that has been lying dormant for a few months and returned to it: Liszt's Jeux D'eau, Debussy's Sunken Cathedral, various Chopin pieces, a Bach suite, a new piece by Heino Kaski… And as I've been reading through, I've started noting what needs work! Some music needs harmonic analysis, others need slow work and decision-making about fingerings; another piece needs to be committed to memory because there are too many awkward jumps; still another piece needs technical work. </p><p>I pulled out my <a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7416748/using-a-practice-journal-for-more-effective-practicing" target="_blank" data-link-type="url"><strong>practice journal </strong></a>again and wrote down what pieces I'm working on this year, and then made a short list of <i>what I need to do next</i>. I love doing this because it gives me a focus. The next time I return to the piano, I'll know exactly what to start on. Whether I have ten minutes or an hour, I will be able to grab a piece, start working, and accomplish something because I've made a note of what specifically needs work.</p><p>Whether you are working on music for your personal growth, a performance, or just to keep up with your students, try keeping track in a notebook or on a piece of paper what you accomplish each day and <i>what you want to work on next</i>. Be specific. Write in measure numbers. Tell yourself what needs work. Be your own teacher. </p><p>Little gains add up to big wins. Do one thing better today!</p><p>For more thoughts on practicing, see:</p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7416748/using-a-practice-journal-for-more-effective-practicing" target="_blank" data-link-type="url"><strong>Using a Practice Journal for More Effective Practicing</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7531110/always-be-prepared-three-songs-at-the-ready" target="_blank" data-link-type="url"><strong>Always Be Prepared: Three Songs at the Ready</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7465170/practicing-in-sections" target="_blank" data-link-type="url"><strong>Practicing in Sections</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7465169/backwards-practice" target="_blank" data-link-type="url"><strong>Backwards Practice</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7457802/how-i-memorize-a-piece-of-music" target="_blank" data-link-type="url"><strong>How I Memorize a Piece of Music</strong></a></p><p><a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7531109/how-to-prepare-for-accompanying-an-instrumental-sonata-or-concerto-quickly" target="_blank" data-link-type="url"><strong>How to Prepare for Accompanying an Instrumental Sonata (or Concerto) Quickly</strong></a></p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-09-04T07:00:00-07:00" title="September 04, 2025 07:00">09/04/2025</span></p>

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  <p class="post-info">in <a href="/musical-reflections/blog/blog_categories/1988">Music</a>, <a href="/musical-reflections/blog/blog_categories/2016">Pianists</a>, <a href="/musical-reflections/blog/blog_categories/62033">Piano teaching</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67245">Practicing the piano</a></p>
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  <a href="/blog/blog/7627982/introducing-the-scarlatti-composer-kit">Introducing...The Scarlatti Composer Kit!</a>&nbsp;
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  <div class="message"><a class="no-pjax" href="https://coribelle.com/product/1135742-composer-kit-domenico-scarlatti" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/32d63e2006607d0fffaceeef50adcc480d506c04/original/domenico-scarlatti-cover.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" alt="Scarlatti composer kit" height="1080" /></a><p>I had so much fun putting this Composer Kit together! The life of Domenico Scarlatti is fascinating - his encounters with royalty, his different stylistic periods, his infamous duel with George Frederick Handel in Rome…and his experiments at the keyboard offer much fodder for discussion and exploration in student compositions!</p><p>Scarlatti wrote 555 keyboard sonatas, although not in the sonata-allegro form that we are familiar with in the Classical era. His sonatas are often in two parts, and include techniques like imitation, counterpoint, fast repeated notes, and crossing hands. He also plays with Baroque dance form and fiery dance rhythms from Spain, definitely a “Renaissance man”!</p><p>Students will love engaging in a Tic-Tac-Toe duel of organs and harpsichords, creating copycat fugues in a fun group game at the piano, and trying their hand at composition in the style of Scarlatti.</p><p>The Scarlatti Kit, like all of the Composer Kits in my shop, contains a 1-page biography (one sheet at the intermediate level, and one for younger readers), two games suitable for playing student-teacher or in a group setting, a playlist with suggestions of what to listen for, and a composition activity (one for beginners and one for intermediates).</p><p>I use these kits in group lessons once a quarter, but the materials are also great for composer study within private lessons, in homeschool co-op music classes, or as an independent take-home activity.</p><p>Find the Scarlatti kit <a class="no-pjax" href="https://coribelle.com/product/1135742-composer-kit-domenico-scarlatti" target="_blank" data-link-type="url"><strong>here</strong></a>!</p><p>For more Composer Kits and a free resource, <a class="no-pjax" href="https://coribelle.com/composer-kits" target="_blank" data-link-type="url"><strong>check out this link</strong></a>!</p></div>
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    <p class="post-info"><span data-time="2025-09-03T14:11:39-07:00" title="September 03, 2025 14:11">09/03/2025</span></p>

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  <a href="/blog/blog/7624067/my-grandpa-s-composers-notebook">My Grandpa&#39;s Composers Notebook</a>&nbsp;
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  <div class="message"><p> </p><p>Several months ago I was visiting my parents at their house and my dad showed me a notebook that his dad, my grandpa, had put together years ago. It was a simple brown binder with no label or identifier on the cover, but upon opening it I found a certificate awarding a gold medal to my grandpa for its contents.</p><p>Before I go on, you have to know this about my grandpa: he was a collector. He collected books (hundreds? thousands?), rocks (and cut and polished them), iris (and belonged to a garden society), antique blue and white plates (which hung all over the kitchen walls), and stamps. He was most proud of his Queen Elizabeth stamps, but he collected all kinds. And he spent hours putting together his stamp collections into neat, orderly pages in binders.</p><p>It turns out that the brown binder that contained the gold medal certificate was another of these stamp collections! Inside was an exhibit of “Musical Themes from Great Composers” that he presented at the Second A.T.A. Topical Stamp Exhibition in 1953. Each page contains one or more stamps depicting a classical composer, a typed short bio of the composer, a brief description of the stamp's origin, and a <i>hand-written excerpt of a composition </i>written by the composer.</p><p>It was this last bit that caught my dad's attention. My grandpa was not a musician, and to our knowledge he had no formal musical training; yet the copied music is meticulously rendered in black ink with all the proper formatting and no mistakes. The attention to detail is astonishing.</p><p>I don't know if there is any “use” for these pages any more, but as a part of my family history - and the fact that both my dad and myself became accomplished pianists - the binder is a wonderful treasure to us.</p><p>Here are a few of the pages:</p><img src="//images.zoogletools.com/s:bzglfiles/u/51313/78dac61a7cc2f43f15c485b9953ec342191c195d/original/img-2009.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" height="2016" /><img src="//images.zoogletools.com/s:bzglfiles/u/51313/c88e38f82d7f4808a896ad1d473a4896f31bfe08/original/img-2008.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" height="2016" /><img src="//images.zoogletools.com/s:bzglfiles/u/51313/4797b5f3ec32d0614e5cf89ac20d2540fd8eb6eb/original/img-2007.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" height="2016" /><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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  <a href="/blog/blog/7624018/getting-ready-for-choir">Getting Ready for Choir</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/5d7debcc102c93205b95f912cf9e4c250ecce9bc/original/choral-4272642-640.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="357" /><p>Are you ready for choir? My choir starts up next week after having taken 3 months off for the summer break, and I can't wait to see everyone and dive into some new music! As a choral accompanist, I don't need to worry about getting my voice back in shape, but I do need to get back to the piano in earnest and “warm up my chops” that have gotten a bit lazy over the summer!</p><p>Here are a few things I'm doing to get ready for choir:</p><ol><li>Clean out my tote bag. I was given <a class="no-pjax" href="https://symphonystore.com/products/the-chopin-bag" target="_blank" data-link-type="url"><strong>this amazing, sturdy burlap “Chopin” bag</strong></a> years ago, and I use it for toting music to all my collaborative piano gigs.</li></ol><img src="//images.zoogletools.com/s:bzglfiles/u/51313/e5b4d121815f8e2453f277d685b487482e3434f6/original/chopin-tote-bag-tspt.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="600" /><p>2. Clean out my black piano binder, add a mechanical pencil and post-it-notes.</p><p>3. Commit to sitting at the piano 10 minutes a day. Since I don't have choir music yet, my goal is simply to get some music back into my fingers, focus my attention on reading, and enjoy returning to practicing music that has been on my shelf for a little while: Ravel's Jeux d'eau, Debussy's Sunken Cathedral, a Bach suite (Bach is SO good for reading multiple voices and practicing efficient fingering)…</p><p>Once you receive your music for the new season, you might want to check out my free guide, <a class="no-pjax" href="https://coribelle.com/product/1052357-timesavers-for-choral-accompanists" target="_blank" data-link-type="url"><strong>Timesavers for Choral Accompanists</strong></a>. </p><p>Also, commit to arriving a few minutes early to each rehearsal. It can be tempting to show up right on time, but by showing up 10 minutes early, you build in time for unexpected traffic, give yourself the opportunity to connect with a choir member or two before rehearsal, and maybe even get a chance to quickly scan any new music the director hands you. Plus, arriving early helps you establish yourself as a leader, providing an example for others to follow and contributing to the overall professionalism of the group.</p><p>As always, you can find more resources specifically designed for choral accompanists at <a class="no-pjax" href="https://coribelle.com/choral-piano" target="_blank" data-link-type="url"><strong>CoriBelle.com/Choral-Piano</strong></a>. </p><p>Looking for something more? Feel free to shoot me <a class="no-pjax" href="/contact" target="_blank" data-link-type="page" data-link-label="Contact"><strong>an email</strong></a>!</p><p><i>Keep up with my writing by subscribing to </i><a class="no-pjax" href="https://athomewithclassicalpiano.substack.com/" target="_blank" data-link-type="url"><i><strong>At Home with Classical Piano on Substack</strong></i></a><i><strong>.</strong></i></p></div>
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    <p class="post-info"><span data-time="2025-08-26T07:00:00-07:00" title="August 26, 2025 07:00">08/26/2025</span></p>

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