STUDIO POLICY

Because regular attendance is essential to musical growth, a commitment to lessons for the duration of the term is expected when a student enrolls. There can be no tuition deduction or reimbursement for missed lessons. Students should arrive no more than 5 minutes early  and leave promptly at the conclusion of the lesson.  I cannot be responsible for a student once the lesson is over.

Make-up lessons are limited to ONE PER TERM, and only for absences due to illness. Make-up lessons will be given the last week of the regular term or at our mutual convenience. Students are responsible for making arrangements for the make-up lesson. There are no exceptions to this policy.

Because schedules are complicated and sports and other events are sometimes unpredictable, I will issue a copy of my schedule as a swap list. In the case of an anticipated absence, an exchange may be arranged with another student. Please notify me promptly if a lesson is exchanged or must be cancelled.

In the event that I must cancel a scheduled lesson, I will provide a make-up or refund.

In order to progress at the piano,  daily practice must assume the same priority as homework and sports. Practice is most effective when the student is alert and undisturbed. The piano should be in tune and away from family distractions. Most students find that setting a regular practice time helps them to be consistent. Parents can assist them in writing out a schedule and sticking to it. I ask students to keep an informal record of practice to aid them in tracking practice habits. Students need to keep fingernails short in order to use the hands comfortably and correctly at the keyboard.

The student and I will decide on manageable daily practice
period that can be accomplished 5 times per week. Completion of
all parts of the assignment is more important than the amount of time
spent “on the bench”.
Many students progress well by dividing the practice into two short
practice sessions rather than one long one. For young students, rewards
for completed practice charts can be effective incentives.

To ensure steady development and minimize frustration,
regular and efficient practice habits are very important. “How to
practice” is part of the lesson each week. It is natural for motivation
to fluctuate over the course of lessons, but if a student isn’t practicing
or practice becomes a conflict in the family, parents should request a conference with me.
If a student comes unprepared for two lessons in a row or becomes upset during a lesson, I will contact parents.

GROUP ACTIVITIES

In addition to more formal recitals, group “piano parties” are
held each term. These informal (students only) parties are inspirational
and they help create a supportive musical community for the students. By
performing in this positive, relaxed atmosphere students
reaching a performance goal every six weeks or so and thereby increase their confidence.
They practice attentive listening and learn how to give meaningful feedback to peers.  Students also may play in ensembles or a duet and participate in musical enrichment
activities —all very important to a student’s musical development!  These group sessions are mandatory as is performance on the studio recital at the end of the year.  All OMTA events (see below) are optional.

Each student has an assignment notebook and binder with lesson plans, handouts, recital information and performance strategies.  It is important that students keep the binder up to date and organized.  Students must bring their assignment notebook and all music they are working on to every lesson.

Music books will be provided by me at cost with charges noted on a statement for payment at the end of the term. In selecting repertoire for recitals and auditions, I usually play several selections and let the
student choose his or her favorite. Students are strongly encouraged to bring additional music of interest. Music charges usually run about $25.00 or less per term.

Since the development of fluent sight-reading requires that students experience plenty of music at each level, I often lend music from my collection.  I also lend CDs and tapes for comparative listening and exploration. Students are encouraged to build a listening library of their favorite selections. Please be sure to return all music belonging to me and clearly label all music belonging to you.

At times it is helpful to record the music a student is learning and assign active listening as part of the assignment. I will
provide  a practice/listening CD.  You-tube can be a valuable resource in music learning when used with guidance.

For those desiring formal performance opportunities or state
recognition of achievement, the OMTA has several programs which may be of
interest.

1) OMTA SYLLABUS is a state certification program for students
levels I-X. The evaluations will be held in April this year. They
include assessment in musicianship skills (ear-training , sight-reading,
and theory) and repertoire. The evaluation is non-competitive.
Students receive a certificate in recognition of their achievement and
pass to the next level. There is a fee to participate, $12-$30, depending
on level. Syllabus provides a satisfying yearly goal which rewards
student effort.

2) RECITAL OPPORTUNITIES include programs with specific themes,
such as an ensemble music, popular music, Baroque, Classical and Romantic
festivals, and also a composition festival for those interested in writing
and performing original pieces. Let me know which ones interest you. I
will provide you with a list of this year’s OMTA recitals and events.

Many parents ask me what they can do to motivate a student’s
progress. Without question, the teacher-student-parent triangle
constitutes the team effort necessary for a student’s success. Here are a
few suggestions:

Listen enthusiastically to pieces your student enjoys
playing (even if you’ve heard them 100 times already!) Make a recording or video
of your student for a record of progress.  They make great gifts to family members too.

Decide on a practice time and gently remind the student
when it’s time to practice. Let her/him decide what to play first. Encourage the student to stay focused until all parts of the assignment are completed (or divide into 2 sessions)

At least once during the week, check the notebook to see
if the practice techniques suggested at the lesson are being used. (hands
separately, eyes on music, eyes closed, section practice etc.) Check to be sure the theory assignment is completed each week.

Listen to the CD recordings I assign with your student or help them browse Youtube for videos of their pieces being performed.

Listen for technical work such as scales, arpeggios, chords. I
usually assign these with the metronome. (Metronome practice is required
for all intermediate and advanced students.)

If your student is racing through a piece, ask what
his/her goals are for that particular piece that week.

Avoid making corrections of your own. This may drive you
crazy when you keep hearing a wrong note, but it’s difficult for a student
to learn from two “teachers” at once. Let the student have the chance to
make the discovery or allow me make the correction at the next lesson.

Take your student to concerts, the symphony, chamber music.  The list of OMTA events
is a good place to start. (see attachment)

Listen to piano music in the home. Young students love
sonatas or concertos by Haydn, Mozart and Beethoven, Chopin waltzes,
Scott Joplin rags, jazz trios etc. Listening is of vital importance to the
developing musician.

Make gifts of music that the student enjoys listening to.
A trip to the music store to browse can be fun and motivating. Buy& Sell (on West 11th and Alder) has a fine selection of sheet music I welcome
music selections brought in by the student.

Artistry at the piano takes many years to develop. Be patient if
your student is in a slump or doesn’t want to play on every OMTA recital.
Keep in mind the big picture. Our role is to observe and encourage music
as it finds its way into your student’s life.