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  <a href="/blog/blog/7620289/the-role-of-a-choral-accompanist">The Role of a Choral Accompanist</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/865933cb949111888317eda827e491e441baa130/original/sofnw-948px.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="677" /><p>Picture yourself sitting at the piano. You listen to the choir, play their parts as they sing, and follow the conductor. As you scan the score, you suddenly notice an upcoming tenor entrance that is sure to go awry. You make a quick decision to pull back on the other voice parts, leave out the soprano melody, and play the tenor entrance clearly and on time. The tenors nail the phrase, the conductor stops to address a diction issue with the choir, and you all return to the beginning to review the section again. This time, you play all parts equally and listen to see if the tenors can get their entrance without your help. They can. You sit back, proud of the tenors, and full of the satisfaction that comes from preventing a train wreck. You are the Invisible Conductor.<o:p></o:p></p><p>Has this happened to you? <o:p></o:p></p><p>A good choral accompanist makes many decisions like this “behind the scenes,” many times without the conscious knowledge of the director or the choir. The accompanist is the “invisible” conductor, contributing to the success of the choir technically (playing the right notes), musically (playing with expression), and artistically (working in tandem with the director to accomplish his or her artistic vision for the music). The accompanist functions as a co-leader with the director in bringing out the full potential of a choir.<o:p></o:p></p><p>Why do I mention leadership in what is obviously a subordinate role? Because a good choral accompanist is a leader, leading the choir (and sometimes the director) by example. The accompanist is confident in her skillset, knowledgeable about how best to support choral singers, and willing to submit (to the director) or lead (in partnership with the director, or in the director’s absence) as the role requires.<o:p></o:p></p><p>The choral accompanist holds two main roles: that of <strong>rehearsal accompanist</strong>, which requires one to play all of the vocal parts during rehearsal as well as learn the accompaniment, and which may include leading vocal warm-ups, rehearsing singers in sectionals, and substituting for the conductor in his or her absence; and that of <strong>performance accompanist</strong>, often the sole musical support for the choir, but sometimes called upon to be part of a chamber ensemble, orchestra, or to provide accompaniment for guest soloists. The two roles vacillate between leadership and support, requiring the accompanist to lead and to follow as the situation requires.<o:p></o:p></p><p>At the time of this writing, I have been accompanying choirs for over 30 years. I began by playing for my high school choir and church youth worship team, and have played in multiple schools, churches, and community choirs. I have experienced good and bad directors, high praise and harsh criticism, being barely acknowledged and receiving flowers and honorariums. Though choral accompanying has never become a full-time gig for me (I am not aware of anyone for whom this is true), it has remained a steady part of my life and has stretched me personally and musically more than I could have imagined when I began at the age of 14. When you find the right fit in terms of ensemble and director, being a choral accompanist can be incredibly fulfilling – more than a paycheck, it can bring you like-minded community, networking opportunities, musical fulfillment and validation; and it can grow your skills in leadership, communication, and collaboration.</p><p>If you play for a choir, there is much you can do to sharpen your skills, grow as a musician, and work in tandem with the director to bring out the best in your choir. I have a growing library of resources designed specifically for choral accompanists including online workshops on how to read vocal parts in open score. You can take a look <a class="no-pjax" href="/choral-piano" target="_blank" data-link-type="page" data-link-label="Choral Piano"><strong>here</strong></a>.<o:p></o:p></p><p>And let me know if there is a specific question you have or resource you would like pertaining to your role as choral accompanist. I'd love to help!</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="2025-08-21T07:00:00-07:00" title="August 21, 2025 07:00">08/21/2025</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/7620288/how-i-choose-music-for-my-piano-students">How I Choose Music for My Piano Students</a>&nbsp;
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  <div class="message"><p><i><span>“…he really enjoyed the lead sheets at Christmas time. I also appreciate your positivity and the excellent piece curation you do.” - Piano parent</span></i></p><p>Choosing music for our piano students can sometimes be a difficult task! The variety of method books available to piano teachers gives us no lack of options, but if we are not devoted to one method or another (or we realize a student needs something more/different), finding just the right music that suits the interests and abilities of our students can feel daunting.</p><p>I have by no means perfected the process, but thought I would give you a glimpse of what I am using this year in my studio:</p><p>For beginners (ages 5-8) - <strong>Faber Piano Adventures </strong>or <strong>Alfred Premier</strong>. These methods are pretty similar, starting the student on black keys with off-staff notation before introducing landmark notes and the grand staff. I like them because I have been using them for years, the pages aren't too cluttered, and the directions are simple enough for non-musical parents to understand and assist their children with at home. I use the Lesson book, Theory book, and Performance book in each method for the first two years. I also use the Faber supplemental books for Christmas and summer (Jazz/Blues, Rock and Roll, Disney). In year three, I add a <strong>Faber Piano Literature</strong> book as we begin to transition into “real” literature.</p><p>For beginners (pre-teen/teen) - <strong>Supersonics</strong>, <strong>Wunderkeys Pop Staff Piano</strong>, or <strong>Alfred Older Beginner</strong>. This age group generally needs easy wins and music that sounds appealing right away. They are motivated by cool-sounding or familiar music, but still need to build proper technique and reading skills. I like Supersonics and Wunderkeys Pop Staff Piano for the “cool” factor and steady progression of skills. The Alfred method is solid, but in my opinion less appealing for modern kids as the songs tend to be folk songs. (Alfred, we need an update!) For theory, I am trying out <strong>Mark Sarnecki's Elementary Music Theory </strong>books this year. I love the clean layout of the pages and the fact that he incorporates music history into the lessons. I also love <strong>Worship at the Keys </strong>by Donna Gielow McFarland for this age. A lot of my students come wanting to learn how to play in a worship band at church, and Donna's book is a wonderful introduction to reading chord charts and lead sheets; she incorporates a number of modern songs!</p><p>For early intermediate - <strong>RCM (Royal Conservatory of Music) Etudes</strong> books, <strong>Faber Piano Literature</strong> books, <strong>Mark Sarnecki's Essential Music Theory</strong> books, <strong>Diversions </strong>1 and 2 by Juan Cabeza, various supplemental literature. My “core” for my early intermediates is an Etude book, a Piano Literature book, and a Theory book. We also follow the RCM technique charts for learning scales and chords. I add to that depending on the students' interests and skills that need addressing. For instance, I have one student who is fabulous at rhythms and loves Celtic music. He is working through the Diversions books (each piece a “quick win” and a chance to analyze patterns and work on transposing on sight), a Celtic book, and a fun Mario book. Another pair of students works very slowly through their core books (practicing isn't consistent), so we don't do much beyond that other than adding Christmas music in Nov/Dec. Another student loves Classical music and we've been supplementing with some of Frank Lynes' sonatinas and other music found on IMSLP.org. </p><p>The older intermediate and advanced students that I have taught generally have been transfer students and have come with repertoire they want to work on. Often it is above their reading level, and I supplement with easier pieces and scales and chords work to improve their sightreading and technique.</p><p>It is important for students who are intermediate level to have music at their reading level (learn in 1 day), a little above their reading level (learn in 1 week), and then a stretch goal (learn in a month+). They need to be able to play music for pleasure (those quick wins!) as well as be challenged to practice to achieve a long-range goal. And if we can find music that accomplishes both things <i>and</i> that the student enjoys working on, we can spend more of our time enjoying the teaching and learning process and less time coaxing students to practice things that are uninteresting or too difficult for them to see much short-term progress.</p><p>How do you choose music in your studio? Do you have methods/publishers/composers that you find yourself turning to again and again? 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="2025-08-19T07:00:00-07:00" title="August 19, 2025 07:00">08/19/2025</span></p>

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  <a href="/blog/blog/7617767/what-s-in-my-student-piano-binders">What&#39;s in my Student Piano Binders</a>&nbsp;
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  <div class="message"><p>Part of my studio prep for fall is assembling Piano Binders for my new students and updating the binders of returning students. I grew up with a binder as a student myself, and in my studio I have tweaked the process a little to fit my teaching style. </p><p>As part of their tuition, my piano students receive books and materials that I purchase for their lessons, including these binders. I use a 1-inch white, 3-ring binder with plastic cover so I can customize the cover. Here's what goes inside:</p><a class="no-pjax" href="https://coribelle.com/piano-opoly-landing-page" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/c902839637a96200082ee3c21f6819cf8518f92c/original/piano-opoly-basic.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" alt="Piano-opoly practice incentive" height="1650" /></a><p><a class="no-pjax" href="https://coribelle.com/piano-opoly-landing-page" target="_blank" data-link-type="url"><strong>Piano-opoly </strong></a>- My simple practice incentive game board slides into the plastic pocket on the outside of the binder and students can see at a glance how close they are to earning a prize!</p><p><strong>Zippered pouch</strong> - I like <a class="no-pjax" href="https://www.amazon.com/dp/B07N1WJNST?ref_=ppx_hzod_title_dt_b_fed_asin_title_0_0&amp;th=1" target="_blank" data-link-type="url"><strong>these from Amazon</strong></a>, with a see-through mesh pocket and two zippered compartments. We use these for flashcards and small game pieces that I send home for practice.</p><p><a class="no-pjax" href="https://coribelle.com/product/1029799-piano-tracker-assignment-sheet" target="_blank" data-link-type="url"><strong>Piano Practice Tracker</strong></a> - This is the student's assignment sheet. I designed it myself (there are several color variations, and you can get it for free in my shop!). If you print it double-sided and upside-down, you can punch it to put in the binder, and then use the back of it without re-punching the sheet by just flipping it over! Each week during the student's lesson, I fill out their practice plan, and it is their job to check the sheet each day to see what they are to work on, and put an “X” or write in the time on each day that they've practiced.</p><p><strong>Studio Calendar</strong> - This goes in a plastic page protector and includes all the dates for lessons and breaks during the year.</p><p><strong>Studio Policy</strong> - No excuses! I put this in a plastic page protector as well. It includes lesson information, practice tips, tuition and payment info, and my missed lesson policy. Parents receive an updated version via email at the beginning of each school year as well.</p><p><strong>Syllabus</strong> - This is either a skills checklist based on beginning method books for my young students, or the <a class="no-pjax" href="https://coribelle.com/product/1035793-piano-achievement-pages-rcm-levels-prep-a-through-level-2" target="_blank" data-link-type="url"><strong>RCM levelled checklists</strong></a> that you can find for free in my shop.</p><p><strong>Technique</strong> - Printed scale and arpeggio charts with fingerings.</p><p><strong>Music</strong> - Any sheet music that I give out during the school year goes here.</p><p><strong>Composition</strong> - Student compositions that are assigned during the year during our group lessons (using materials from my <a class="no-pjax" href="/composer-kits" target="_blank" data-link-type="page" data-link-label="Composer Kits"><strong>Composer Kits</strong></a>) or private lessons.</p><p><strong>Scales</strong>/<strong>Chords/Key Signatures</strong> - These are 3 separate tabs, but are meant to hold papers detailing how major and minor scales, chords, and key signatures are put together.</p><p><strong>Music History</strong> - Students collect composer biographies (from my <a class="no-pjax" href="/composer-kits" target="_blank" data-link-type="page" data-link-label="Composer Kits"><strong>Composer Kits</strong></a>) and they live here.</p><p>The Piano Binders serve as a growing library of musical information for students as well as a place to house their assignments. The binders grow with the students and are a physical reminder of the hard work they put into practicing and music study, forming a portfolio of sorts that celebrates their achievements!</p><p>Do you use binders in your studio? I'd love to hear what you do with yours! Tell me 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="2025-08-11T15:47:41-07:00" title="August 11, 2025 15:47">08/11/2025</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/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/62485">Music theory</a>, <a href="/musical-reflections/blog/blog_categories/67245">Practicing the piano</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/7613187/new-choral-workshop-how-to-read-open-score-canons-and-fugues">New Choral Workshop: How to Read Open Score-Canons and Fugues</a>&nbsp;
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  <div class="message"><a class="no-pjax" href="https://coribelle.com/open-score-canons-and-fugues-workshop" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/38f0bc99f6912aea02f68171edb3a12d7ce889f1/original/how-to-read-open-score-fugue-workshop.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" alt="How to read open score canons and fugues choral accompanist workshop" height="1080" /></a><p>I am excited to announce a new online choral accompanying workshop: <a class="no-pjax" href="/open-score-canons-and-fugues-workshop" target="_blank" data-link-type="page" data-link-label="Open Score Canons and Fugues Workshop"><strong>How to Read Open Score Canons and Fugues. </strong></a></p><p>This is a follow-up to my original “<a class="no-pjax" href="/open-score" target="_blank" data-link-type="page" data-link-label="Open Score "><strong>How to Read Open Score</strong></a>” workshop and will build on some of the same ideas (scanning a score, prioritizing which voice parts to play at what time). <i>Note: There is no prerequisite to attend the first course in order to benefit from the second, especially if you are already comfortable reading Bach chorales in SATB.</i></p><p>When voices move in canon or fugue, they “take the road less traveled” and break out on their own independent paths, wreaking havoc for the choral accompanist. But there is no need to panic! It <i>is possible</i> to make sense of the divergent vocal lines and maintain a solid presence at the piano while giving support to the singers. </p><p>Join me for an on-demand online workshop and we will discuss practical strategies you can use to tackle canons and fugues in open score with confidence. All attendees receive a student workbook with exercises to work through during the class as well as extra music to work on after class to extend your learning. In addition, you will receive an invitation to a new choral accompanist community online where you can ask further questions and receive support for your work.</p><p>I hope to see you there!</p><p><a class="no-pjax" href="/open-score-canons-and-fugues-workshop" target="_blank" data-link-type="page" data-link-label="Open Score Canons and Fugues Workshop"><strong>Click here to join the workshop!</strong></a></p></div>
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    <p class="post-info"><span data-time="2025-08-01T07:00:00-07:00" title="August 01, 2025 07:00">08/01/2025</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/7612567/a-life-lesson-from-johann-sebastian-bach">A Life Lesson from Johann Sebastian Bach</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/ef780d109c585eeacfb8c0f620b52500950804c1/original/j-s-bach-by-unknown-author-original-books-figure-public-domain.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="392" /><p>In our current cultural climate, we seek not to offend. We are careful to be considerate of other people’s preferences, values, and belief systems. At least, we try to be. This can lead us to refrain from expressing anything that <i>we</i> actually believe, especially if it happens to be religious in nature.<o:p></o:p></p><p>Recently, I was looking up information about Johann Sebastian Bach online, and I wanted to find a quote of his. As I have started playing with AI tools a little bit, I asked AI to give me a list of quotes by J.S. Bach. Interestingly, 3 out of the 4 quotes AI came up with referenced God:<o:p></o:p></p><p><strong>“Music is an agreeable harmony for the honor of God and the permissible delights of the soul.”</strong><o:p></o:p></p><p><strong>“I play the notes as they are written, but it is God who makes the music.”</strong><o:p></o:p></p><p><strong>“The final aim and reason of all music is nothing other than the glorification of God and the refreshment of the spirit.”</strong><o:p></o:p></p><p><strong>“Without my morning coffee I'm just like a dried up piece of roast goat.”<o:p></o:p></strong></p><p>(I had to look up that last one to see if it was actually something Bach had said. It was!)<o:p></o:p></p><p>I wanted to put a quote on a new resource I’m putting together for piano teachers, and at first, I hesitated to put down something “religious” in nature, thinking that it might discourage teachers from downloading the resource and using it in their studios. After all, no one wants to offend.<o:p></o:p></p><p>However, after giving it a little more thought, I realized that Bach’s faith in God was so much a part of who he was and why he composed that I couldn’t <i>not</i> include one of his “religious” quotes. In fact, at the beginning of many of his compositions, Bach wrote “J.J” or “Jesu Juva,” Latin for “Jesus, help.” And at the end he frequently added “S.D.G.” or “Soli Deo Gloria,” meaning “To God alone be the glory.”<o:p></o:p></p><p>Rather than trying so hard not to offend, we need to be bold about speaking what is true. Johann Sebastian Bach loved God and made it his aim to honor and glorify Him in his music. To omit his faith from the conversation is to omit the very soul of his artistry. As teachers, we have the opportunity to present historical context honestly and respectfully. Including a quote that reflects Bach’s devotion isn’t a statement of exclusion; it’s an invitation to understand the depth from which his music flows. In a culture that fears offense, let’s not be afraid to share what is true and to honor the Source of the music.</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="2025-07-31T07:10:00-07:00" title="July 31, 2025 07:10">07/31/2025</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/7068">Bach</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a>, <a href="/musical-reflections/blog/blog_categories/67328">Christian worship</a></p>
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  <a href="/blog/blog/7611572/making-time-for-composer-study-in-the-piano-studio">Making Time for Composer Study in the Piano Studio</a>&nbsp;
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  <div class="message"><p>Do you make time for composer study in your piano studio? </p><p>Lesson time seems to always be at a premium. How does one fit repertoire study, technique, music theory, sightreading, and ear training into a 30- or 45-minute lesson, let alone music history?! If you are like me, you spend most of your time teaching repertoire, taking a few minutes out for technique and a few more for theory, and the rest happens “if there is extra time.” That is why most of my discussions about specific composers, their lives, and their music, happen in my group lesson settings rather than in private lessons.</p><p><strong>Composer Study in Community</strong></p><img src="//images.zoogletools.com/s:bzglfiles/u/51313/ed801b13061563180a15131378963b4f37a5b207/original/img-9040.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" alt="composer kits for group lessons" height="640" /><p>Every 6 weeks or so my piano students come to a group lesson with 3-5 other students for a community-building time of music theory games, informal performances, and in-depth composer study. We enjoy being together as a group, and the 60-minute timeframe allows for discussions of a composer's life and music. (Lest you think I conduct these discussions like a college lecture, let me assure you that our time together is quite lively and we switch activities every 10-15 minutes!)</p><p><strong>Coming up with Resources</strong></p><p>I used to cobble together resources I found on the internet, choosing composers I thought students might have some background knowledge of or whose music they were starting to encounter in their lessons. But recently I decided to organize my thoughts a little better and <i>plan ahead</i> for the school year so that when group lessons come around, <i>the planning is already done!</i> </p><p><strong>Introducing…the Composer Kit!</strong></p><p>For each composer we study this year, we will be reading a short biography; listening to selected works from a pre-formed playlist; composing using a musical technique that that composer used; and playing games that reinforce music theory concepts, new vocabulary, composer trivia, memory techniques, and more! </p><p>I am <i>really</i><strong> </strong>excited about introducing my students to a variety of composers in this way. The materials in each kit are highly interactive and designed specifically for multi-age, multi-level (beginner and intermediate) groups. And because students are <i>learning through play</i>, they are much more apt to remember the information and start seeing these composers as “real” people rather than figures in a museum or history book. As they play around with different composition techniques, they will start to see what is possible in the realm of composing…and will start to identify concepts in their own repertoire study.</p><img src="//images.zoogletools.com/s:bzglfiles/u/51313/6086de779515dc21037eefadfff1cdaa55dfdbe6/original/bach-kit-splash.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_left border_" alt="composer kits for group lessons, private piano lessons, homeschool" height="773" /><p><strong>Designed for Multi-age, Multi-level Groups</strong></p><p>The student worksheets are levelled, so beginners and intermediate have their own pages to work on with individually tailored assignments; however, the concepts are linked, so everyone will feel like they are “on the same page”! The worksheets fit nicely into a 3-ring binder, so students can collect a biography for each composer, followed by an example of their composing technique.</p><p><strong>Easy Prep, Planning is Done For You!</strong></p><p>The teacher's guide shows a suggested timeline and lesson plan for the activities with ideas for extending learning. The games are low- to no-prep and can be reused in the piano studio.</p><p>It feels great to have my group lessons planned out for the year, with all the materials in one place and ready to go! You can <a class="no-pjax" href="/composer-kits" target="_blank" data-link-type="page" data-link-label="Composer Kits"><strong>learn more about Composer Kits here!</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">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/66972">Piano camps</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 class="no-pjax" href="/blog/blog/7608982/what-makes-a-great-choral-accompanist">What Makes a Great Choral Accompanist</a>&nbsp;
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  <div class="message"><p>The role of choral accompanist has a direct impact on the success of a choir. With a great director, a choir can accomplish much; with a great director + a great accompanist, the sky is the limit! Without a great director, the accompanist can still be a powerful catalyst for growth, covering over “a multitude of sins” and gently filling in gaps to bring forth beautiful music. Conversely, if an accompanist lacks skills and/or professionalism, it will affect the tenor (pardon the pun) and musicality of the group. </p><p>If you currently serve a choir as their accompanist, your work at the piano in rehearsal is <strong>as important to a choir's success as the foundation of your house is </strong>to the home in which you live! </p><p>Here are a few thoughts on what you can do to enhance the focus, accuracy, musicality, and overall professionalism of your choir:</p><p><span class="text-big"><strong>Qualities of a Great Choral Accompanist</strong></span></p><ol>
<li>A great choral accompanist is <strong>proficient at the piano</strong>. Playing well technically and having a good understanding of music theory and form will enable you to learn music quickly.</li>
<li>A great choral accompanist <strong>anticipates what the director is going to do next. </strong>A “good” accompanist “follows” the director; a “great” accompanist is so focused on what the conductor is doing that he or she can anticipate things like: what problem spot the director will go back to rehearse the choir at, where in the music the director wants more rubato or expression, and when more support of the vocal lines is needed. </li>
<li>A great choral accompanist <strong>isn't easily offended,</strong> but recognizes the need of all musicians (including him/herself) for continued growth and problem-solving.</li>
<li>A great choral accompanist <strong>is efficient in home practice time</strong>. When given a stack of music at the beginning of a season, prioritizing what needs work first is essential. (For help with this, check out my free resource, Timesavers for Choral Accompanists, below!)</li>
<li>A great choral accompanist is <strong>receptive to the needs of the choir</strong>. You are the director's second pair of ears and can often hear things that the director misses. Take the initiative to bring out certain vocal lines that choir members need help with when learning parts, and be available to choir members who might want a little help during the break.</li>
<li>A great choral accompanist is <strong>always professional</strong>. Your role is more akin to that of the director than the choir members. As a leader in the group, your attitude toward the director, the music, and the choir members will affect others. Set an example by not engaging in gossip, working to build up rather than tear down, being prompt to rehearsal (early is better!), and being focused during practice.</li>
</ol><img src="//images.zoogletools.com/s:bzglfiles/u/51313/51f396ca80046caaf7fa5c80b1680285e3a53945/original/sofnw-500px.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="357" /><p>If you are currently serving a choir, consider it a great privilege to be the “unseen conductor.” The choir relies on you for its support. Continue to hone your skills, striving always to be better than you were the week before, and let it bring you great satisfaction that you are contributing to the success of your choir!</p><p><span class="text-big"><strong>Resources for Choral Accompanists</strong></span></p><p>For more support and encouragement in your role as choral accompanist, check out these resources:</p><p><strong>Choral Accompanists Facebook Group (click the image)</strong></p><a class="no-pjax" href="https://www.facebook.com/groups/choralaccompanists/?rdid=HFvUltplJHC5V2ad&amp;share_url=https%3A%2F%2Fwww.facebook.com%2Fshare%2Fg%2F16C7G715Aq%2F#" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/03d327f60fc3305d00d977f6ae2b5084463972e3/original/choral-accompanists-fb-community.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" alt="choral accompanist facebook group" height="1080" /></a><p><strong>Timesavers for Choral Accompanists (click the image)</strong></p><a class="no-pjax" href="https://coribelle.com/product/1052357-timesavers-for-choral-accompanists" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/d090b28240cb191ddb9d6693250f02ac469f55aa/original/time-savers-for-choral-accompanists.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" alt="timesavers for choral accompanists" height="2000" /></a><div class="ml-form-embedContainer ml-subscribe-form ml-subscribe-form-28719078" id="mlb2-28719078"><div class="ml-form-align-center "><div class="ml-form-embedWrapper embedForm"><div class="ml-form-successBody row-success" style="display:none;"><div class="ml-form-successContent">
<h4>Thank you!</h4>
<p>Thank you for signing up! Check your email for your Timesavers for Choral Accompanists!</p>
</div></div></div></div></div><script>
    function ml_webform_success_28719078() {
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            fetch("https://assets.mailerlite.com/jsonp/1621501/forms/160673313483392445/takel")
        </script><p><strong>How To Read Open Score: On-Demand Workshop for Choral Accompanists (click the image)</strong></p><a class="no-pjax" href="https://coribelle.com/open-score" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/1294b33107ed296843a726b382b2618961e663e9/original/how-to-read-open-score-workshop.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" alt="how to read open score workshop for choral accompanists" height="1080" /></a><p><strong>Find more resources</strong> in my growing library for choral accompanists at <a class="no-pjax" href="/choral-piano" target="_blank" data-link-type="page" data-link-label="Choral Piano"><strong>coribelle.com/choral-piano</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">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/7608076/pros-and-cons-to-teaching-piano-to-homeschoolers">Pros and Cons to Teaching Piano to Homeschoolers</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_right border_" alt="teaching piano to homeschoolers" height="427" /><p>Are you considering adding homeschoolers to your piano studio? For the past several years I have worked to attract homeschoolers to my studio in an effort to concentrate my teaching time to the hours when my own girls are in school. (I wrote more about that <a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7600394/how-i-found-homeschoolers-for-my-piano-studio" target="_blank" data-link-type="url"><strong>here</strong></a>.) Here are some of the pros and cons I have experienced in my work with homeschooling families:</p><p><i>Note: Of course, every family is different and it is impossible to say that <strong>all </strong>homeschooling families you encounter will function this way; however, these are some general things I have found to be true.</i></p><p><strong>Pros:</strong></p><p>🎵 Homeschool families are purposeful about their children's education and want music lessons to be a part of a well-rounded education. Because of this, they will often schedule practice time into their homeschool day, just as they do schoolwork. (Yay for consistent practice time!)</p><p>🎵 Homeschool families have time available during the day for lessons, potentially expanding your teaching hours.</p><p>🎵 Homeschool families often have multiple children, and younger siblings will often follow in their older siblings' footsteps by taking piano lessons.</p><p><strong>Cons:</strong></p><p>🚸 Because homeschool families control their own schedules, they may take multiple weeks off at a time, or even a month's vacation.</p><p>🚸 Homeschool families are not bound to the public school calendar. If you also teach children that attend public school, this means that holiday breaks can happen at different times.</p><img src="//images.zoogletools.com/s:bzglfiles/u/51313/935d7dfa3cc7ec57e41f70a8ac41af04410e9dc4/original/piano-3957650-640.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" height="427" /><p>In my experience, the Pros greatly outweigh the Cons, which I find mostly have to do with scheduling. I love building relationships with families and teaching multiple siblings, getting the bulk of my teaching done weekday mornings, and having the support of parents. </p><p>Regarding the Cons, I believe that <strong>if you are clear on your studio offerings</strong> - including how many lessons you offer each month/semester/year, what your make-up policy is, and how payment happens - you can navigate the scheduling hiccups with ease. (At any rate, it is miles easier than trying to work around after-school sports and drama schedules!) </p><p>I offer my homeschooling families the same tuition package that I offer my public school kids: weekly private lessons and quarterly group lessons. I love introducing my students to each other and watching them form relationships during our group lessons, and consider the community-building just as important as the musical knowledge they gain during these times. (Find out more about <a class="no-pjax" href="https://coribelle.com/blogs/musical-reflections/posts/7593886/group-lesson-planning-made-easy" target="_blank" data-link-type="url"><strong>how to run successful group lessons here</strong></a>!)</p><p><span style="color:rgb(77,77,77);">Let me know if you have any questions in the Comment section below!</span></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="2025-07-22T07:00:00-07:00" title="July 22, 2025 07:00">07/22/2025</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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  <a href="/blog/blog/7606865/taming-the-group-management-strategies-for-piano-teachers">Taming the Group: Management Strategies for Piano Teachers</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/2125fc88cff2f833f0e80ff83f758328b5378cf4/original/img-8997.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="2162" /><p>As piano teachers, we often choose to teach private lessons because we like the one-on-one relationship with our students. We typically teach out of our homes and have introverted personalities, enjoying the freedom to teach a block of lessons and then take a break to re-charge. This is my preferred approach <span>😊</span>; however, there are also times when we want to build community in our studio, giving our students opportunities to perform for each other and get to know other pianists “like them.” This can take the form of recitals, holiday or end-of-term piano parties, summer piano camps, monthly workshops, or quarterly group lessons. <strong>But what is a teacher to do who isn’t comfortable managing groups of students?</strong><o:p></o:p></p><p>In my late twenties I transitioned from being a private piano teacher to teaching first grade in a public school. While I had worked in Vacation Bible Schools for years and even ran an after-school program at a YMCA for grade-school students, managing kids in a more formal learning environment required me to have an even better grasp on management strategies. Here are some tried-and-true tips that I learned during my teacher training that can help you lead a successful camp/workshop/group lesson, whether you have a group of 4 or 30 students:<o:p></o:p></p><p><strong>Keep your rules short and memorable: </strong><span>Be kind and have fun. <o:p></o:p></span></p><p><span><strong>Explain your rules</strong>: Be kind means that we will listen when others are talking, be respectful in what we say, etc.<o:p></o:p></span></p><p><span>Explain the <strong>consequences</strong> for unwanted behavior:<o:p></o:p></span></p><ol>
<li><span>Verbal warning<o:p></o:p></span></li>
<li><span>[Short] time-out away from activity or must sit with the teacher<o:p></o:p></span></li>
<li><span>Talk with parent at the end of camp</span></li>
</ol><p><span>Have a plan for <strong>getting students’ attention when</strong> it gets loud. Choose one of the following or make up your own: <o:p></o:p></span></p><ol>
<li><span>I clap a rhythm and you clap it back; <o:p></o:p></span></li>
<li><span>I say, “Campers, attention please!” and you put your hands in the air and look at me; <o:p></o:p></span></li>
<li><span>I say, “Give me five” and you respond with eyes on me, ears listening, mouth quiet, hands to yourself, heart ready to learn.</span></li>
</ol><p><span><strong>Yelling over students’ voices is never effective</strong>. If you have verbal instructions, wait until there is a drop in the noise level, and then take advantage of it by calling students to attention. If there is no drop, try recruiting students one at a time by saying “If you hear me, clap once,” then, “If you hear me, clap twice.”<o:p></o:p></span></p><p><span>It is best to <strong>practice your call-to-attention</strong> </span><i><span>before</span></i><span> you need it, so do it often in the “honeymoon” phase of the first day. Make it a game to see who listens first!<o:p></o:p></span></p><p><span><strong>Befriend your</strong> <strong>tricky kids</strong>. You know the ones – the kids who, if given the chance, will act out and pull your whole group quickly into chaos. Know their names, make a point to connect with them early in the day, and keep them close. Assign them a job that gives them positive attention. <o:p></o:p></span></p><p><span>My best management strategy is to get ahead of disruptive behavior by befriending kids, setting clear expectations, and having a plan in place for bringing the group back to attention. With a little forethought and consistent follow-through, you can have a successful and enjoyable time with groups of students!</span></p><p>Need a plan for a 60-minute group lesson? Check out my <a class="no-pjax" href="https://coribelle.com/group-lesson-template" target="_blank" data-link-type="url"><strong>free Group Lesson Planning template</strong></a> below:</p><a class="no-pjax" href="https://coribelle.com/group-lesson-template" target="_blank"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/2340ce865d6cf4ee1e0ae547cc2354d1883aa36e/original/group-lesson-template-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_center border_" alt="group lesson planning template" height="2000" /></a><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><span><o:p></o:p></span></p></div>
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    <p class="post-info"><span data-time="2025-07-20T22:42:52-07:00" title="July 20, 2025 22:42">07/20/2025</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/62035">Games and activities</a>, <a href="/musical-reflections/blog/blog_categories/66972">Piano camps</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/7605882/how-to-find-accompanying-gigs">How to Find Accompanying Gigs</a>&nbsp;
</h2>

<div class="post">
  <div class="message"><img src="//images.zoogletools.com/s:bzglfiles/u/51313/d4e03b98e040fd4cbb151394287d97443ff94306/original/copy-of-100-ig-post-templates-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" height="540" /><p>Working as a freelance accompanist and independent contractor often means looking for work. While we would all like to receive the word of mouth gigs that show up because people know us and like what we do, the fact remains that there are times when we need to market ourselves and find our own work. Here are four ideas of where to find accompanying gigs, and what you need to do in order to land them!<o:p></o:p></p><p><strong>1. Narrow down exactly what you want to do! </strong><o:p></o:p></p><p>There are so many options available to collaborative pianists:<o:p></o:p></p><ul style="list-style-type:disc;">
<li>Vocal accompanying<o:p></o:p>
</li>
<li>Instrumental accompanying<o:p></o:p>
</li>
<li>Playing for church services<o:p></o:p>
</li>
<li>Weddings<o:p></o:p>
</li>
<li>Working in musical theater in the pit band, as a rehearsal accompanist, or as a musical director<o:p></o:p>
</li>
<li>Playing for school choirs<o:p></o:p>
</li>
<li>Playing for a ballet company<o:p></o:p>
</li>
<li>Play on a cruise ship<o:p></o:p>
</li>
<li>Play for local student festivals like solo and ensemble<o:p></o:p>
</li>
<li>Record accompaniment tracks or play for auditions<o:p></o:p>
</li>
<li>Play for your local opera company<o:p></o:p>
</li>
</ul><p><strong>2. Let people know you’re looking for work.</strong><o:p></o:p></p><p>Start with friends and family – let them know you are available to play for [fill in the blank]. Go to the places and individuals you’d like to play for and let them know you’re in town and available for hire. If you can, get in front of people and play for them. Offering your services as a sub can get your foot in the door and serve as a sort of on-the-job interview!<o:p></o:p></p><p>Connect with local musicians. Start with a local Facebook group and look for musicians’ meet-ups. Or ask someone to coffee. Get to know who works in the area and ask them to help spread the word that you’re looking for work.<o:p></o:p></p><p>Email choir teachers at local schools. Find out if they need an accompanist for choirs, musicals, or their annual solo and ensemble festival.<o:p></o:p></p><p><strong>3. Look online</strong><o:p></o:p></p><p>Join your local Facebook groups. In the last several years, many local musicians groups have showed up online. Start looking for location-specific groups of piano teachers, accompanists, pianists, and musicians. Some cities even have groups that function as job boards, where you can find gigs. Introduce yourself to the group, check in often, and take advantage of opportunities to get in front of people and play.<o:p></o:p></p><p><strong>4. Advertise online</strong><o:p></o:p></p><p>Pianoaccompanists.com offers a free listing of your contact info and can be a good first online presence for jobs. You can also set up a simple webpage with your name, a short bio, and contact information. When people reach out to you, be quick to respond (within 24 hours) and clear about whether you are or are not interested/available for the gig. Think of every contact as a networking opportunity and make a good first impression. Even if you aren’t available or don’t end up getting a gig, people will remember how you treated them and if you were prompt and polite with your communication. Maybe you’ll get a future call back!<o:p></o:p></p><p>The jobs are out there, and once you make a few connections, things seem to start happening. It will take time to get “known,” but once you have a solid regular gig, whether with a school, church, music studio, or community organization, more work will come your way!</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="2025-07-15T16:35:22-07:00" title="July 15, 2025 16:35">07/15/2025</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/37002">Accompanying</a>, <a href="/musical-reflections/blog/blog_categories/66971">Creating a Life in Music</a></p>
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