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COMMITMENT
No progress can be made without daily practice. It is essential that the student spend a minimum of 20 minutes at the instrument each day. The number one key to success in this area is parental encouragement. It is clear when a student fails to learn material due to a lack of practice; in such cases, the instructor may recommend lessons be terminated rather than continue to accept payment.

CONDUCT
It is expected that all children will show proper regard for the building and furniture. Courteous behavior before and after one’s lesson is also required. The pupil will wait for his or her ride quietly in the hallway and respect other students’ lesson time.

ATTENDANCE & FEES
Lessons start promptly at the designated time. If a student is 10 minutes late without notice, the instructor may elect to leave; no refund or makeup will be given.
Tuition is payable at the beginning of each term. No unpaid lessons will be given. If a student must cancel, 24-hour notice is imperative. Upon adequate notice for an unavoidable conflict or illness, a make-up will be scheduled.
Please make sure your child understands the above studio policy and agrees to support it.

MUSINGS ON PIANO TEACHING

I have a zeal for music. It has always been a part of my life. My father was a professional jazz musician and my first teacher was my mother. I grew up in Rochester going to all sorts of events at the Eastman. In addition to piano, I studied brass in school and played in various ensembles. I love to teach, and I enjoy interaction with people, especially children. By teaching piano, I find fulfillment of all these aspects. It gives me a sense of purpose to impart my knowledge and lifelong passion for music—particularly piano—to those who want to learn. It gives me special satisfaction to work with kids who are learning the elements of music for the first time. Everything is brand new to them and it renews my own sense of joy and wonder in the miracle of sound and creation that I experienced as a little boy discovering the great works in concert and on records.
Whether teaching piano, organ, theory, ear-training, improvisation, composition, or vocal coaching, I am always text-based in print materials. For piano students, I have used—with much success over the past 5 years—the Piano Adventures method by Nancy and Randall Faber. For the older students I have also used the Accelerated Piano Adventures as well as the Adult Piano Adventures. These provide a solid structured framework which I feel is essential in a sequential, long-term course. I routinely expand and expound upon the written materials, adding in and occasionally editing to present the most complete education experience I can. In the process, I have a good time interacting with my students, young and old, and feel that our sessions are a very personal, friendly time of sharing something beautiful together. My contact with parents is also personal, but necessarily more business-like. I always give freely of my time to those who are interested in being involved in their children's learning, since I firmly believe family support at home makes practice doubly productive.

Being in Nashville, I often have people come to me who want to become singing stars in a few weeks, or learn to accompany themselves quickly to enhance their songwriting efforts. I try to discourage these requests, and emphasize that music is like learning a language and a physical skill at the same time, like Korean in conjunction with Tae-Kwon-Do. It takes time, facility, lots of work, and dedication.

I do not believe in teaching people to play "by ear." Playing by ear is a God-given aptitude, and I think people who have the gift to play by ear teach themselves. A teacher cannot bestow this ability, however one can "fine tune" it through education in music theory. For the occasional adult who wants to study only jazz or improv, I use books like "Classic Jazz Standards" (Bill Boyd) or "Boogie Woogie Hanon" (Alfassy) or "The Joy of Jazz" (Agay) supplemented by charts, lead sheets and fake books.

In the strengths department, I am first a pretty good pianist. This is crucial in order to demonstrate a properly executed passage. (Besides, it's good for my ego when a wide-eyed student asks, "How'd you do that?") I have one student now who has had to back up a couple levels in her books because she had a teacher who never showed her how to play. She never learned from hearing examples or seeing correct hand position, fingerings, phrasing, etc. demonstrated. On top of that, her teacher was uncritical, passing her on every piece without her having truly learned to play. I practiced hard growing up, and as a music major, and as a long-time church musician, so I know how to practice! Secondly, I am very knowledgeable in music, having spent all my life around it, and having earned a master's degree in music education. Thirdly, I know how to communicate this knowledge. Communication is very important to me and I take pride in being able to convey concepts to learners in a positive, constructive manner. As I tell my students, none of whom are on a music career path, the main point of them taking lessons is to have fun and enjoy the activity of playing.