Piano Hands

dow and dow

seventeen

managing the moolah

I love teaching music so much I'd do it for free. I hear this from many teachers, and I assume it's an exaggeration ... at least I hope it's an exaggeration. After all, if you taught for free, how could you buy food, or toothpaste, or lattes from Starbucks? I think by now you understand the point I'm trying to make. Nobody would realistically teach for free; it's not possible. I teach music because, for me, it's the most enjoyable form of earning a respectable income. And I assume that you are reading this chapter because you agree with me. In the following paragraphs I will teach you how to set your price, collect your lessons fees, and discover additional income streams.

86

Piano Hands Shouldn’t Flip Burgers

setting your price Determining what to charge is relatively simple. Discover what the going rate for lessons is in your area, and charge the same ... or more. That's it! I hope you noticed that I did not encourage you to charge less. Charging less than the going rate can be detrimental to your business. Never charge less than the “going rate” for music lessons. People will make negative assumptions about your abilities if you are the cheap choice.

In any business, the music lesson industry included, individuals must resist the urge to charge less than their competitors. In earlier chapters we discussed how to attract students to your studio, and never once did I suggest that you do so by undervaluing your services. Competing with other teachers by charging a cheaper rate is akin to telling potential students that you have nothing special to offer except price. If you have selected a valuable and interesting niche market to pursue, you will never have to compete on price. People will sign up for lessons because they value the service you provide and not the money they save. More often than not, if a music teacher attempts to compete with other teachers based on price alone, they will be out of business in a matter of months. The only thing worse than a single teacher being out of business is several teachers being out of business. Unfortunately, a single teacher starting a price war can create this scenario. When a teacher in a particular region undermines the current value of music lessons, other teachers are often forced to adjust their rates. Before you know it, nobody is making any money and teachers choose other professions. To reiterate: compete based on value, not price!

87

dow and dow

collecting the cash My least favourite part of teaching music is collecting lesson fees. Chasing down money is time consuming and uncomfortable. All too often I begin feeling like a bill collector or repo man; two careers I happened to pass up. Fortunately, you can eliminate some of the stress by offering discounts for quarter, half, or full year payments. Discounts for “lump sum” payments will save you time and stress as they eliminate the need to track down money each and every month.

Offering discounts for “lump sum” payments are effective incentives to encourage people to pay for longer stretches of lessons, hereby helping to ease some of the pressure on your monthly accounting. Also, they will help you eliminate the need to track down yet “another” monthly cheque. Obviously, you will want to offer a greater discount as the duration of the paid lump sum increases. The discount does not need to be huge. People love getting a deal and will generally respond well to any type of discount. Be wary of people who want to pay lesson per lesson, month per month or other such arrangements. If you are successful enough, your timeslots will be valuable – you want students who are committed for the long run and who are therefore willing to comply with your collection policy.

making more money Believe it or not, but your piano teaching income does not have to come entirely from teaching piano. The most successful music

88


teachers discover additional ways to earn an income. In addition to providing weekly lessons, you might also consider teaching master classes to groups of students, charging a small fee for purchasing and supplying music books, or hosting guest artist concerts and selling tickets to our students. Offering monthly master classes to your students who already take private lessons will allow you to monetarily benefit from group lessons while providing your students with additional performing and learning opportunities.

The most effective of these methods for the teacher with a small studio would be teaching master classes. A master class is simply a group of students who come together to listen to one another play and offer compliments and suggestions for improvements. Groupteaching experiences arise naturally as the participants in the class discuss each other's pieces. Often the instructor will provide a particular theme for the master class so that students may direct their comments accordingly. We regularly hold these master classes for six to seven students at a time for 60 minutes. Parents are happy to pay $10 for an hour of instruction, and our teachers make an easy $70 an hour. Another additional income stream comes from hiring other teachers as your employees – either to work while you are not, or to work alongside you if you have the space where you are set up. Never turn students away once you yourself are “full” – people want what you are selling! Instead, begin a waiting list and once you have enough for even one full day of lessons, search out a teacher who fits with your studio’s philosophy (or who can be trained to fit), agree on an hourly wage, and make the appropriate arrangements to keep it legal and pay them as an employee (your local accountant who does payroll services can help). This is also a good idea if people phone wanting lessons in other instruments such as guitar, singing, drums etc. Hiring employees means delving deeper into the business side of music lessons, but the payoffs can be huge. Just be sure to find

89

dow and dow

the right teacher who continues your good reputation in your community. You will vastly increase your own income by a large percentage – without increasing your own teaching hours. There’s nothing better than sipping iced tea on your deck knowing you’re still making an hourly profit! Never turn students away. Start a waiting list. It’s nice to have the security of students waiting for a spot. Or – consider hiring an employee to teach students for you.

90


eighteen

keeping it legal

There are few things easier than starting a business teaching piano lessons ... riding a bike or tying your shoes happen to come to mind. In fact, starting your own business is no more difficult than buying a fishing license. It is certainly a lot easier than getting your driver's license ... and most would argue that it is also a lot safer. For the purposes of this chapter I will assume that you are going to be operating your business as a sole proprietor. This is the business structure that I am sure you, like most music teachers, will select due to the ease in which it allows you to start operating as a business. There are other structures you may take with your business, such as operating as a corporation, but the start-up costs and bookkeeping requirements are so intense that this form is usually reserved for larger, more established businesses.

91

dow and dow

As a sole proprietor you and your business are one in the same. Unlike a corporation, your business is not a separate entity; financial gains and losses are absorbed directly by you, not your company. Also, any creditors to which your business owes money can collect their payment from your personal assets. If someone decides to sue your business, for any number of reasons, your personal assets are at risk. As scary as this all may sound, operating a piano studio is often viewed as low risk, and there are additional ways (purchasing liability insurance) that you can use to protect yourself without having to incorporate your business. Operating your business as a sole proprietorship is the easiest way to get started, but it does come with some financial risks. Make sure you talk with an insurance agent to uncover ways to protect yourself if someone sues, if your studio burns down, or if some other unfortunate event occurs.

Now that you are aware of the risks associated with operating your business as a sole proprietorship, you are probably eager to discover how you go about actually starting your business. Well, if you are reading this chapter on a weekday, stop reading momentarily, pick up your phone, call your local community or municipal office, and request an application for a business license (this can also often be downloaded from the internet). Once you receive the papers, fill them out, pay the required fee and you’re off and running. That's it. You’re a business owner. Simple! If you're really lucky, you may live in a district that doesn't even require you to obtain a business license, but be sure to check into this first. If you are a creative individual intent on building a branded business, you may want to give your studio a creative name. In this case there is one additional step that must be taken. When you run a business as a sole proprietor you are free to begin operations as soon as you receive your business license, assuming you will operate under your own name. In this case when you bill your clients, cheques would be written to you, Jane Smith. Also,

92


when you advertise you may only use your name: Are you interested in piano lessons? Contact Jane Smith. For the creative business minds, operating under a personal name can be a little dull. If you would rather people contact XYZ Piano School to sign up for your music lessons you will have to register this name with your local government's business registry. Once again, this is a simple process that requires you to fill out a short form and pay a small fee. As a recap, here are four things you must consider before you begin operating your music studio: 1. Will you operate as a sole proprietor or as a corporation? 2.

Does your community require you to obtain a license before beginning operations?

3. Are you going to protect your personal assets by obtaining liability insurance? 4. Will your business operate under a different name than your own? If so, you need to register this name.

This chapter is meant only to serve as a guide and should not replace legal advice. For all business matters we strongly recommend consulting with a lawyer, accountant, and insurance agent.

93

dow and dow

nineteen

your home or theirs

When choosing a location for your piano studio, you basically have three options: your home, the students' homes, or a commercial location. Of these three, you will want to choose the option that achieves the greatest balance between affordability and professionalism. Right off the bat, I am going to eliminate the third option: a commercial location. Unless you have some serious financial backers, a commercial location is likely too pricey if you intend on operating a single-teacher studio. So ... you are left with two options: your home or theirs. Either of these options can help establish a successful studio. Your job is to find out which option will work best for your situation. When selecting a space for your studio you must consider the following points:

94


1. Which location will allow you to deliver your program most effectively? 2. Which location will establish the most successful atmosphere? 3. Which location is most convenient for parents? While you must consider all of these points, I have listed them in order of importance. When making a decision you must give greater weight to program delivery than to convenience. If a location does not allow you to successfully deliver your lessons to your niche market, you will be sacrificing your reputation. This is much more costly than losing a potential client because of an inconvenient location. Let's look at each of the three points in greater depth.

where will your program work best? Your location may be dependant on the niche market that your program serves. If, for instance, you have designed a program for stay-at-home moms, you will obviously deliver it in their homes; otherwise your program will fail. Stay-at-home moms are too busy to gather up the crew, put them in the car, and drive across town for a piano lesson. If, on the other hand, you have designed a program that requires a lot of gear or tools it would probably be best to deliver this program from home. Most likely people who are receiving piano lessons do not want loads of gear dragged into, and set up in their homes. A program with a recording studio focus comes to mind when I think of programs that would best be delivered at your own location. The computer equipment required to set up a

95

dow and dow

digital recording studio would make delivering the program in your students' homes virtually impossible. impossible.

atmosphere is important If you are willing, I believe that you can create a professional atmosphere in any location. The real question is how much effort you want to put forth towards creating this atmosphere. Make sure your teaching teaching studio is quiet, spacious, clean, and free of personal belongings. belongings.

When teaching from home, it is important that you select a space in your house that has the qualities of a commercial studio. Is it quiet? Is it spacious? Is it clean? Is it free of personal belongings? Can you even control these qualities? If you are attending university and living with several friends, from personal experience, I know that keeping a home quiet and clean can be a real issue! If you can't guarantee a quiet, clean, professional teaching area in your home I would suggest delivering lessons in the homes of your students.

convenience is everything This is a no-brainer. Piano lessons delivered in the homes of your students are the ultimate in convenience. Kids can be unpredictable, and getting them to a piano lesson on time can

96


often be a daunting task. Who wouldn't want someone coming to their homes and teaching piano to their kids? But ... don't go throwing the piano books into the back of your car yet. Remember, while parents love the convenience of lessons in their homes, they do not love lessons delivered inadequately in their homes. If your program cannot be effectively delivered at an external location, teach from your home.

97

dow and dow

twenty

don’t be a drill sergeant

You've heard the expression a million times before ... the customer is always right! It's a popular expression in the business world, and an expression that needs to be taken more seriously in the piano teaching industry. Piano students are customers… and the the customer is always right!

All too often piano teachers forget that they are running a business, and they forget that their students (and their parents) are their customers. We can't let this happen. No matter what! Piano students are paying customers, and we must treat them as such. I can't count the times I've heard stories about teachers who reprimand students for not practicing, financially punish parents for forgetting their lesson payments (late fees), and demonstrate complete inflexibility in rescheduling missed lessons. When put in perspective, these issues pale in comparison to what other service industry workers put up with. I think about this every time I see a poor waitress being outright harassed by a picky

98


diner, a bus driver being jeered by a drunken passenger, or a parking meter attendant handing out a ticket to an irate driver (okay, maybe I don't sympathise too much with the parking attendant, seriously, five minutes late...). The point I'm trying to make is that our problems in the grand scheme of things really aren't that serious.

a simple solution to your problems Does this mean I'm a pushover? Absolutely not! There comes a point when a piano teacher must take a stand, but it takes me a long, long time to reach this point. Here is my step-by-step approach to solving all problems at our piano studio. As an example, I'll use a common problem of a student who is not practicing: 1. Student didn't practice last week – I say nothing, families are busy. 2. Student didn't practice again – I say nothing, two times does not make a pattern. 3. Student didn't practice, yet again – I ask myself, “How can I motivate this student to practice?” I implement a new strategy to encourage practice. (I don't tell the student about this strategy, I simply introduce it, as though it is something all of my students are doing.) 4. Student is still not practicing – I present the problem to the student (and the parent) and we create a joint action plan.

99

dow and dow

You'll notice that I don't mention the problem to the student until the fourth step. The reason for this is that when you confront someone with a concern, people will usually get their back up, or get down on themselves. This is the last thing I want to happen, and is therefore my last resort. More often than not, the problem will be resolved long before I have to actually verbally present the problem to a parent or student. Give people the benefit of the doubt – and give them adequate time to correct the issue on their own first. Another thing to consider is that we are often not privy to all that is happening in the child's home life. There are many reasons why a child's practicing may falter, or why payments may be late. I will never forget a good teacher friend telling me how she had called a students' parents to complain about their lack of practice that week (the week before a big competition) only to be told that the students' home had flooded and they were living in a motel temporarily. The student, and the parent, had been too embarrassed to say anything for several reasons relating to their financial situation. Piano practice was obviously on the bottom of their list at this time in their lives – and my friend felt foolish for interfering. This story stuck with me, and was a good reminder that the piano is not the only important thing in our students’ lives. There is nothing that parents hate more than being made to feel guilty. Families often have many “balls in the air” and if piano is the one “ball” they feel as though they are constantly dropping; they will often drop it … permanently. Always ask yourself, “What can I do differently to solve this problem?” before asking a parent or student to do something differently!

Which leads us back to my first statement, “The customer is always right.” At least that's how we want them to feel. If you are having a problem with a parent or student (a.k.a. customer) instead of confronting them with the problem (which will undoubtedly make them feel uncomfortable), change your

100


approach to dealing with the problem so it is solved before anyone has to feel like they are in the wrong. Keep in mind that you are giving them feedback on their child ... the one thing in the world that they not only produced, but love unconditionally. No matter how much they may view you as a professional, they will still feel as though you haven't met their child's needs in some way if there is a problem – regardless of whose “fault” it may be. Head them off at the pass. The best way to deal with problems is to be one step ahead of the parent with an approach that is patient and kind.

money doesn’t always matter Another rule of thumb to consider – if it costs you less than $30 to appease a customer, do it. This means that you may occasionally not come out on top of a situation (Aidan had the flu, you offered a lesson on your Saturday morning instead). However, consider the fact that Aidan's parents likely pay you close to $80 per month for 10 months of the year. A gesture such as this often makes the difference in whether they feel valued by you, and choose to stay at your studio, or decide to try out “that new music place down the road”. Creating a sense of loyalty is far more valuable than that $30 in the long run. You'll also create a reputation for being kind and family-friendly. I can't tell you the number of students that have switched to our studio simply because they have been extremely put off by our competition's rigid policies. What’s funny, is that we actually have the exact same policies – however our approach is viewed as much more reasonable for those few times that we make the extra effort to be understanding. No news spreads faster than the story of someone who has felt royally ripped off. No amount of advertising on your part can combat negative word-of-mouth. Put yourself on the right side of the gossip and reap the rewards.

101

dow and dow

This is not to say that you should cater to every demand (because parents will make them!) or that you should spend every spare moment offering free lessons. Most parents understand that they can't just cancel on you for birthday parties etc. and they also understand that there may be times that you just can't do anything to make it right. However, if you have someone else cancel and you're sitting there anyway – offering the time to someone who has previously missed a lesson (even if they end up not being able to make it) puts a big gold star by your name in their mind. When it involves money, be flexible. Give people a break when you can. Your clients will remember your generosity and pay you back with referrals that will be worth far more than the “nickel or dime” you would have collected.

being a bill collector The part of the position that involves the collection of money is also something to be approached carefully. Be completely upfront with all costs – people hate surprises. If you have extra costs, such as a registration fee, be prepared to detail exactly what it covers – and make sure it seems valuable. People hate to be nickel and dimed to death. Bounced cheques will happen, people will forget to pay you, people will move away while still owing you money. Have written policies in place to deal with all of these, but be careful to not treat all of your clients as though they are destined to rip you off. Most won't. There is nothing worse than a studio policy sheet that reads like a death sentence – it’s a negative way to begin your working relationship. We have approximately 5 bounced cheques per month. It's the nature of the beast. We still do not charge a NSF fee. If families are struggling to pay for the music lessons, they will not appreciate an extra $20 charge on your part. This will often mean the end of their lessons, as the

102


financial embarrassment won't be worth it for them. Be understanding – these things happen. Ensure you collect your money and move on. Don't be a drill sergeant; don't be a doormat. It's a careful balance.

103

dow and dow

twenty-one

it’s up to you

Piano teachers always surprise me. They are usually the most enthusiastic about signing up for workshops, attending conferences, purchasing new resources, and searching out new learning opportunities. And yet, they rarely change. There is a funny perception that piano teachers don’t actually work – they are lucky enough to do their hobby for money. Oh! You get your summers off? That’s fantastic (well it would be if I had a paycheque in July and August!) Isn’t it great that you can do what you love (it would be if I made any money at it.) You set your own hours? You’re so lucky! (But I have to work until 8:00 every night of the week!) They are thrust into thinking that their teaching is more of a service to the community than an actual career. They lead themselves to believe that they will likely not make more than $25-$30k per year. In a way, I think they feel

104


that they aren’t really worth more. Because, after all, we set our own hours, get to work from home and get our summers off. But don’t go down this road. You need to believe you are worth more, because you are. It is really up to you to either choose to accept your lot in life as the friendly neighbourhood (starving) piano teacher. Or, to choose to be an enterprising piano entrepreneur with financial freedom added to the list of other perks of the job (you have your summers off AND money to do something during that time … what a novel idea!). By adhering to the principles of this guide you have the chance to create a career that most could only dream of. Decide to demand more from your chosen profession – but in doing so you need to treat this as a profession. Educate yourself. Stop adhering to antiquated practices. Learn to read your market and to create a product that will sell. Your love of the piano has the potential to change your life - and the lives of all whom you teach. Piano teachers can be as wealthy as lawyers. Piano teachers can be as business savvy as the most successful developers. Piano teachers can be as respected as doctors. Choose this path, make the change, and you will be handsomely rewarded. It’s up to you.

105

dow and dow

twenty-two

tips and strategies revisited

Chapter One and Two 1.

2. 3.

You can start a wildly successful studio with no money, no connections and in an area with competition. It takes some gumption and some know-how but it can be done. Consider yourself to be small beans? Change your way of thinking. You can have much more. People may have pre-conceived notions about piano lessons from their own previous experiences. Change these antiquated ideas – show people how great piano lessons can be with the right teacher.

Chapter Three 4.

5. 6.

Find a niche and you will grow your studio fast! To be successful, you must identify a niche that you can serve, and then (and most importantly) let people know you are serving that niche. How will you stand out from other teachers? What do you offer that is different? What do you offer that nobody else is offering? Become an expert in one particular area of piano teaching. Experts always succeed over generalists!

106


7.

8.

Worried that a particular niche market is too small? Choose two or three niche markets in which to specialize. But make sure you advertise to each of these niche markets specifically. Choose a niche that you are passionate about. You’ll be investing time and effort into your choice – you need to be 100% invested in what you are doing to be believable… and successful.

Chapter Four 9. 10.

11.

12. 13. 14. 15. 16. 17. 18.

Newspapers are going the way of the dinosaurs. Don’t pay to advertise in one. Offer one month of free piano lessons and you’ll never have to worry about attracting students again. And the best part is … most will stay a lot longer than one month. When marketing a business you must be memorable. Create an ad that includes an effective image, a catchy slogan, and a call to action. Your image and slogan must appeal to your niche market and should transmit your studio's core message. Take great care in developing your advertising materials. This will be time well-spent. Develop your studio’s core message that appeals to your niche market. Shout your core message from the mountaintops. Don’t waste advertising on people who don’t care. A gift to people who help you will ensure their assistance in the future. Having a web presence is crucial to running a successful business in today's world. There has never been a better time than the present to take advantage of viral marketing. Your advertising must portray a professional image. Give your business a name and design a great looking logo.

Chapter Five 19. First impressions are everything at a first lesson – a successful first lesson means that the student will be back … and so will their friends and their friend’s friends. 20. Make sure your studio appeals to your clientele. It should feel welcoming, not intimidating. 21. Parents enjoy sending their children to a place that they themselves are proud to be associated with. Children learn best in an environment where they feel comfortable. Adjust your atmosphere accordingly. 22. At every lesson, present your students with “two stars and a wish”. 23. Be very cognisant of your choice in comments. What may seem like a lighthearted comment to you can be devastating to a sensitive child. 24. Every student, every day should leave with a smile on his or her face.

107

dow and dow

25. The key to piano teaching success is making your students feel good about themselves.

Chapter Six 26. Your student’s attention span is their age plus three minutes. Keep this in mind when planning lessons. 27. Your weekly music lessons should be divided into three parts. This is designed to avoid boredom, to mould your students into well-rounded musicians, and to fill those half-hour blocks of time. 28. You need to deliver lessons that are engaging, enjoyable and quality-filled. 29. Set out routines properly from the beginning – your job will be much easier and much more enjoyable. 30. Don’t be afraid to change up what you’ve “always done”. A fresh start may be what is needed to propel your studio towards success.

Chapter Seven 31. The resources you choose should make your job easier and your studio seem unique to your community 32. Your choice in books should be one that is not taken lightly. No matter how wonderful your personality is – if you're teaching from a horribly boring book the kids will love you, but not the piano. 33. Find the perfect book series and run with it. Switching from one series to another will only confuse your students as they try to continually adjust to different teaching techniques and philosophies. 34. It is absolutely essential that your method book utilize a foolproof teaching method. But don’t forget that it must also appeal visually to children. This might sound petty, but it’s true! 35. We have absolutely no connection with the authors of the Piano Adventures Series and receive no kickbacks! But we encourage you to give the books a try simply because we have had hundreds of kids absolutely love them 36. Don’t reinvent the wheel. A great book series has been carefully crafted over a number of years … benefit from this development. 37. Stop thinking of a piece as something that has to be completed from start to finish, perfected, and then checked-off. Rather, think of each as a worksheet. 38. You need to anticipate what areas may possibly cause your student problems when playing and address this area of the piece first. 39. Each piece in the book should be an opportunity for teaching musical understanding. Breakdown what you know intrinsically and show students how to understand pieces of music in the same way. 40. Teach theory and technique in context, not as separate entities. 41. Use theory to your advantage – use it as a cushion to safeguard your students from feeling inadequate, hesitant or confused.

108


42. Remember, the teacher is the guide, not the book. How you use the book will determine your success. 43. Not even the most fantastic method book in the world can serve all of your students’ needs. You need to have your radar on at all times to anticipate when they need a temporary change. 44. Choose supplementary material that will further your commitment to being unique, modern and relevant.

Chapter Eight 45. The average attention span of a student is their age plus 3 minutes… keep this in mind. 46. Short, varied activities are the answer to teaching success. 47. Varying activities means changing your students' environment and actions. 48. Even your most attentive students cannot sit productively at a piano for 30 minutes. 49. Have an erasable white board in your room and use it. Come up with a repertoire of fun theory games to play and do this every lesson. 50. Incorporate ear training and sight-reading into every lesson, but PLEASE don't use those ridiculously boring books. 51. Whenever you can, turn your activities into a game. 52. Students should view sight-reading as a necessity, not as a dreaded activity. 53. If your student feels comfortable making mistakes in front of you, if you've given them something motivating to play, and if they have the tools, they should be sight reading like crazy at home all the time.

Chapter Nine 54. Your lessons should always include an activity that is so exciting that students come through your door wondering what you're going to pull out of your hat next. 55. Establish a monthly routine that includes lead sheet exploration, music board/card games and composing. Do one of these activities per week each and every month. 56. Time spent preparing these activities will be worth it in the long-run. You will enjoy teaching much more when you have clear goals to accomplish each and every lesson.

Chapter Ten 57. Popular music does not have to be central to your program, but if it isn’t included somewhere, your students will lose interest. 58. Fake books provide the instant gratification students need to stay interested … use them!

109

dow and dow

59. If you want to encourage your students to practice at home, make sure they have a lead sheet to work on. It will provide the stimulus needed to get them to sit down at the piano. 60. Fake Book format music is the key to keeping your teenage students interested. Teenagers are different – embrace this and work with them, not against them.

61. Looking for lead sheets? The internet is a great starting point. Chapter Eleven and Twelve 62. Compose with kids. It gives them a vested interest in learning the piano. 63. Use composing to reinforce skills students are currently using. 64. Keep your compositions short and simple. You should be able to complete the piece in 15 minutes. 65. Use a simple format (ABA) with a repeating motive. 66. Encourage students to choose motivating themes and titles. More pride will result from a unique song. 67. Use a program like Finale Notepad to give a professional look and feel to a student’s composition. 68. Use your compositions as a springboard for other unique activities and awards in your studio. 69. Publish a book of compositions created by your students. Give everyone a copy so they can play each other’s songs at home. 70. Turn theory into a game by either creating your own board/card games or by purchasing some. Your students will enjoy a break from the bench and you’ll get the chance to ensure basic skills and knowledge are well-learned.

71. Visit www.funmusicco.com for information on purchasing their games online to print and play.

Chapter Thirteen 72. Students who come from families with no musical background do not have an ingrained appreciation for classical music. Instead, their musical passions lie with today’s pop music. 73. Embrace ‘pop’ music. Let your students be guided by their innate passion, and then introduce the timeless classics once they’re hooked on their lessons. 74. Want to make a lasting connection? Discover what they would like to play without asking them, “What would you like to play?” 75. Stay current – have a good knowledge of today’s most popular bands. Switch that radio station in the car and do your “homework” on the fly. 76. Parents will also appreciate the incorporation of pop music into home practice!

110


Chapter Fourteen and Fifteen 77. Suggest that parents plan a mini concert for just a few family members and even some friends in their home as an excellent way to give your students a short-term goal. 78. If you really want your students’ practice sessions to be beneficial, break the piece into smaller, more manageable chunks and encourage them to focus on one challenging portion at a time. 79. Encourage students to “teach” their mom or dad a new skill, technique or piece on the piano at home. We learn best by teaching. 80. Give your students practising motivation by shooting a music video of them playing a favourite piece. 81. Encourage your students to alter the style of the piece. Instead of playing the piece as originally intended by the composer, encourage your students to add a comedic flare while practising to encourage playing with expression and fluidity. 82. Organize duet or trio groupings for your students to encourage an environment of collaboration. 83. Sit down with your students and make up a new title for their piece and add accompanying lyrics following the same theme while you’re at it. Write the title and lyrics directly onto your student’s music with pictures to help those who are not yet reading. 84. Recognize your students by awarding them in inventive and unique ways. Create a regular routine of rewarding both the “stars” and the “strugglers” in a way that not only says “congratulations” but that also creates word-ofmouth advertising for your studio.

Chapter Sixteen 85. Set up a system where you do not need to spend your time chasing down money. Be organized from the beginning and you will avoid future problems. 86. Set up systems now that leave room for the growth of your studio. Start with your end goal in mind – and adjust your organization accordingly. 87. Choose whichever cancellation policy you are most comfortable just don't choose “no policy at all”. If you do not have a cancellation policy in place, your piano lessons will become an activity a child chooses to do if they are feeling up to it. 88. Your practice policy should reflect the niche market you serve.

Chapter Seventeen 89. Never charge less than the “going rate” for music lessons. People will make negative assumptions about your abilities if you are the cheap choice. 90. Discounts for “lump sum” payments will save you time and stress as they eliminate the need to track down money each and every month.

111

dow and dow

91. Offer discounts of increasing value for clients who pay in quarter, half, or full-year instalments. 92. Offering monthly master classes to your students who already take private lessons will allow you to monetarily benefit from group lessons while providing your students with additional performing and learning opportunities. 93. Swamped with phone calls? Start a waiting list if you yourself are “full”. Or – consider hiring an employee to teach for you. Ensure you go through the proper channels to set up proper payroll etc.

Chapter Eighteen 94. Operating your business as a sole proprietorship is the easiest way to get started, but it does come with some financial risks. Make sure you talk with an insurance agent to uncover ways to protect yourself. 95. Always seek professional advice to discover what insurance you will need when operating a home business. Do things right from the beginning. 96. If you plan on operating under a name other than your personal name, ensure you register this name with your local government's business registry.

Chapter Nineteen 97. When choosing a location for your piano studio, you have three options: your home, the students' homes, or a commercial location. Of these three, you will want to choose the option that achieves the greatest balance between affordability and professionalism. 98. Make sure your teaching studio is quiet, spacious, clean, and free of personal belongings. 99. If your program cannot be effectively delivered at an external location, teach from your home.

Chapter Twenty 100. Piano students are customers … and the customer is always right! 101. Always ask yourself, “What can I do differently to solve this problem?” before asking a parent or student to do something differently. 102. The best way to deal with problems is to be one step ahead of the parent with an approach that is patient and kind. 103. When it involves money, be flexible. Give people a break when you can. Your clients will remember your generosity and pay you back with referrals that will be worth far more than the “nickel or dime” you would have collected.

112

Piano Hands

Recommend Documents