Teaching Music: Start teaching a musical instrument successfully | Ilse Lozoya | Skillshare

Teaching Music: Start teaching a musical instrument successfully

Ilse Lozoya, Music teacher and Online Educator

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17 Lessons (1h 22m)
    • 1. Welcome

      1:02
    • 2. Chapter I

      0:39
    • 3. Teaching Kids

      8:19
    • 4. Teaching Adults

      4:18
    • 5. Parents

      7:26
    • 6. Teaching Professionals

      9:19
    • 7. Repertoire

      6:31
    • 8. Teacher´s assignment#1

      4:20
    • 9. Multiple Intelligences

      8:18
    • 10. Teacher´s assignment #2

      4:57
    • 11. Class Activities

      8:28
    • 12. Chapter II Teaching Methodologies

      1:04
    • 13. Teacher´s development

      0:51
    • 14. Teacher´s assignment #3

      3:46
    • 15. Developing your own studio

      7:08
    • 16. Recitals

      4:46
    • 17. Congratulations

      1:01

About This Class

Being a music teacher can be difficult, specially when you don't have much experience. If you are about to start teaching any musical instrument, this course is for you.

You will get to know your students in order to make a good approach and develop your classes in a successful way. If you are currently teaching but you don't feel that is working, this course will help you too.

You will know what are the considerations if you want to join a music school or to develop your own private studio.

Join this course and get ideas to make your teaching a great experience.

Transcripts

1. Welcome: Hi. My name is Insula Soria, and I want to welcome to this course. If you are watching this lecture, I think it's because you have already decided to join this course. Well, I recommend you to follow all the lectures carefully. If it's necessary, you can take a look off each lecture several times. Be sure to complete the tree assignments, because the main purpose of discourse this have produced a positive change. And we have to get involved and try to applicator all the activities and all the information that we're receiving in this course in our daily classes. So welcome to this course Plays joined the discussion work and let me know. How can I help you? Um how are you feeling with this course? Thank you. How welcome. 2. Chapter I: this is checked er number one, this chapter. We're going to concentrate in knowing or students were going to analyze the difference between teaching kids, adults, teenagers. How can we help students that want to become professionals? So how, of course we have assignment number one. So be sure to take all the notes and everything that it's required to this first chapter. No number one that it's called knowing your students. 3. Teaching Kids: Let's check about teaching kids. There are many teachers that they just don't want to teach Children, and this is because date owns know what to do. Sometimes I feel frustrated, and they are afraid that their classes can become boring. But the situation is that teaching kids is something that develops the teachers. Corrective Lee. And this is important. We have to understand that what is the nature nature of the Children so we can understand how to develop an efficient class? And there are some practical recommendations that can really help us to develop fun. Chalon and nice music classes helping the Children to the relevant hair. No to develop all there. Music sensitivity. So their main recommendations. Let's consider. First, we have to be aware that every child hasn't seen her talent that must be developed in a proper way. We must not never get to the conclusion that a child cannot play an instrument because we are not capable or authorize it to get to that absorption. Every child is unique. His learning must be facilitated through a careful this assignment Students center program . And I'm saying this because sometimes we want to treat all or students in the same way. And this is not gonna happen because some kids are very active. Some can be shy, so we must not treat them in the same way. So let's analyze a little bit. How can we develop an efficient music class with Children? How much How must be done first, if you are working with a a specific program, maybe in your music academy, you're falling on a specific method. Be sure to follow it perfectly. If it's necessary, may you have to take training. And there are many music academies that folo strictly a a specific program on. They need that their teachers must be trained. And this is very good, because we are by walking on a proof growth and we we can get the results that the Metha once. But we have to be sure that we are following the program perfectly. And of course, experience is needed, and with experience, we're going to see how each method works. But in case that journal working this kind off a strict programs and you are able to choose all the material on the veil, developed your classes as you want, we have to consider first d. H. How old is your student? And there is an important rule that applies to the class activities. This is the 1121 rule. It means that if your student has five years is five years old, it means that his attention is gonna last five minutes per activity, more or less. So. If you are teaching a seven years old, students on your class is one or class. You must have at least 10 activities. Mary 12 will be good. So in that case that there's an acute. It's not working, you can change it. And if you have 12 activities, it will work pretty well. So it's very important to know the age, the students, in order to choose activities that are best for for each of student, we have to analyze a musical background. Maybe he study before. Maybe hey is taking music. He has music lessons at his school. Or maybe his parents are musicians and they can help him a lot. So it is very important. And this is this is go according to the learning environment. How is the child learning in how how the environment is helping him this is very important to know. And of course, it takes a couple of classes, too. No, the student. So first talk with the parents. There's a lecture dedicated to this area, but just, um, remind reminding you first talk with the parents, work as a team and establish a plan to make the class efficient. The sign your class activities. As I said, if you have one hour flashed, you must have at least 10 or 12 activities. May need your careful P inductive lee. Maybe it's not the same, but but maybe it pursues the same goal. So have a bunch of activities to help you develop, not boring class. Get us much materialist possible. It doesn't matter that may be due. Are always have worked with one a specific book. Get many books and get many activities so you can develop a nice class chopped to observe, evaluate, make changes if it's necessary. This is something important. Music classes are an organic, it's an organic system. So if you see that some activity is not working, you can change it according to the moment, according to the student. And we have to be creative, so we must remember that Children can start music lessons even that one year old. There are many music classes dedicated to assimilate the music sensitivity off course. There a specific metals for this. It's not that easy. But of course, that can be done. So if you want to teach very, very young Children, be sure to be in touch with this kind of methods in order to help the students remember that it's not that serious. You must be very professional and never. I never get to the point to think that because it's a child, you must not pay him the same attention. Ask if you are teaching up higher, higher education student. Remember that you are in charge to facilitate his learning. And you know you don't know how far your students can go. Oh, how far he can get. So we must be very professional and enjoy and be creative. This is very important. In order to enjoy your classes and facilitate the student learning process, 4. Teaching Adults: teaching adults. Where am I referring to when I say teaching adults well and the salt, it's Ah, room. Talked about this. A student that who wants to be an amateur musician? Maybe the student doesn't have any musical Bagram. Maybe he started another instrument. Or maybe he studied your instrument many years ago. Or maybe he has a little bit off spherical background, but not too much. And this is a person that has ah, vz, obviously life. Maybe he has a family, he said, working. And he doesn't want to spend that time that amount of time practicing your instruments council. This is important because this is student once. Maybe he wants your classes. That's a hop, a way off, escaping or just relaxing. And don't thinking about the, you know, daily issues. So it's very important that you must be able to develop and build a good relationship, a very good relationship between teacher and student, and so you can get to know just to that this is important and of course, it will take a couple of classes. It won't happen at the beginning, but you must be able to know if this student has bean starting on which a lot off intellectual activity. Or maybe he stopped, like 10 years ago or something like that. So you have to go at his own pace. So you have to give your student enough time to understand and work at the pace that he wants. Don't try to force him to try to reach the same goals and work the same speed that other students. This is important, and because of that, you must be able to find the most suitable repertoire. Why me? Because, as always, said, this is Student is taking your classes. It's a hobby, and maybe he wants to learn to play. Imagine, maybe he wants to learn. You know how to sing a very famous and popular song because his wife birthday is coming next. Monta, He wants to sing that song trick. So this is important and you must be conscious. So don't try to push too hard. Your student. You have to establish a relationship based on good communication because your student has special expectations and you must be able to know which expectations are and find what is working. If you are giving him maybe too much of theory, Or maybe you're going too fast. Remember that as a teacher do work as a facilitator. So in this case, do must be able to let the student build his own learning and other bits you know, determine where does he wants to go? Off course you're the professional. So Juma's advised the student which material which, ah, kind of program. It's good for a student, but you must always work a student center program and letting the student bill his own learning. This is absolutely important in order to get the results that the student respect and that you can spend a very good time working with this kind of students. 5. Parents: this lecture is dedicated to teach your parents relationship. Maybe you are wondering why this is relevant. The situation is that, honestly, many times as teacher with trouble with this situation. Parents are very important in the learning and teaching process. But sometimes it's difficult, and we don't know how to handle this situation. Let's take a look off the nets picture. You can see it to families. Bulls are quite different, the one that it's in the top. It has several generations, I think at least four. The other one is a small family, a very John one. Would young Children just imagine how the culture and how every situation is different? And now we have the third you mish. It's a very it's a huge family, so many Children and only two generations. So we have to consider that each family, it's absolutely different. Each one has its own characteristics, so you cannot think that the situation is the same. So you can treat Children and parents in the same way because each child has a unique experience and each parent has a unique experience as well. So it is very important for parents to understand how can they help their Children with music classes. Sometimes they take their Children to music classes, maybe just for hobby or because they heard that music. It's very helpful. And there are many good things that a child can develop if his studies music. But sometimes they really don't know how they can help their chat their Children. So it is very important to have a conversation before the first class before the learning process begins. We have to talk with them. If you're teaching at your place of your own studio, of course, you must be in charge of this and you can, without any problem, talk with the parents before. If you're working on a music academy and maybe the person in charge, it's not aware of the situation. You can talked what the people who is in charge of the academy and try to develop this. This is a very good Have it true chalk with the parents before starting classes. You have to explain them the musical learning process, because they do not show. Maybe they do, but maybe they don't. So it is very important to hail the parents understand how my child needs help in order to get a good result. You cannot think that a child is responsible by himself, off practicing and heaven a good a sterile routine. Off course. The parent is the one that is going to be in charge of that and actually is his responsibility. And you have to make this something very special situation. You have to show the parents how they can get involved. So there some advice is that you can follow if you want to have a good relationship with your students. Parents trust us. Have good communication. Let them know how you're student is going. How is ah? How can he be helped in order to get better results? Tell them that each of students is different, so you cannot compare. Sometimes you have students that are brother and sister, and parents usually compare them off course. This is They do this because they don't know that usual. Advise them how to do how to manage the situations. Use positive reinforcement. This is absolutely important and necessary. You have to encourage all the positive situations, and every little achievement must be encourage in a very positive way. One parents start making so much pressure to their Children. Sometimes Children start associating music classes with something not good, like her mother, subject from school, but something that has to be by by force. Not a good thing. Did you have to work as a team and you're the professional, So you must lead to parents getting bull, and you must give all the information that they need to have. In order to make the teacher learning process a very good experience. You have to make them part of the teaching learning process. I have seen many cases were parents get so involved that music lessons become something wonderful. It's an opportunity and unique opportunity that can make parents and Children develop, developed a very unique won't. So make them part off every achievement and let every achievement be like the center off the class. Sometimes encourage the the Jones students, which his parents to celebrate every achievement, and we're talking about each note that this is playing a good way. No, you can celebrate even a good attitude if the child improves his behavior. This is something that must be celebrated. Not only the point that playing a piece or paid play in certain notes so you have to encourage to celebrate. Each achievement on this is important in order to have a very good relation between teacher and parents. 6. Teaching Professionals: Let's talk about teaching professionals. By this I mean that what happens when our students want to become professional decisions? So maybe they are already working and they are professionals already. So that's what I mean when I say Let's talk about teaching profession on some distance very , very important, because when a student wants wants to become professional, there are many important implications. We're talking about somebody that wants to make a living off this. So this is not a hobby, and this is not something just for fun. So we have to become a little bit more serious about all responsibility and sometimes our students. It's not a professional jet and wants to be prepared for an audition. So we have to be aware of what is required and what whether the student have to play. We him, we must getting form, and we must talk about that on help the student to reach the goals that needs to take the audition. Sometimes our students, it's currently taking a course. Maybe I don't know which country you are, which kind of town or city you leave. But ah, maybe there special programs and they are already preparing for be a professional position . Maybe this are young people around 17 18 and you're already teaching that. So there's a difference. But let's talk about this. I mean, the responsibility s teachers. So we have this a student with a lot of potential on. We are in charge off, guys, this a student and facilitate the student to develop all he is music talent on and very good discipline in a study music. And because this is what he wants to do for a living, we must be aware off everything that it's involved and be very responsible in the moment that we teach. Because if there's something that we don't teach correctly many because we we don't know why or we don't feel like, ah have to prepare ourselves for teaching that where the result is that this student, it's not going to be able to to develop us in position, and this is very serious. So let's talk about what's the considerations. If the students want to read a student one to make an invasion and apply for in a university, we have to talk about the personal goals that the student has and how we can help Mr In it , we have to think about the risk. I mean, waas the that the difference between going to certain university or not. So this important, we must be aware of that. Um must understand this student profile. How is the student? How husband hearing, uh, top for many years. How long has he been studying and what's the What's the case right now? Sometimes you can prepare your moss prepares to them for a certain prohibition. And maybe he has problems with ah temple or he has problems with ah, technique are fingering, I don't know. And so we come iwas identify which the problem is Oh, so we can work specifically in that area And we must be absolutely honest not just because this is a student that wants to go Teoh Mr Taken addition and it's able to pay us. That doesn't mean exactly that we are the most suitable choice. Maybe we are where I'm not saying that we are not capable, of course, that most of the time anyway are capable to do that. But sometimes imagine that you are a classical player and there's a student wants to apply for a jazz a School of Very Fame use jasa school. Well, maybe Joe are not exactly the correct person to prepare the suit for an audition or the other way. You are a very good jazz piano teacher or jazz guitar player, and this student want to go to Ah, I music. Classical music schools always must be very, very honest and help a student. If the case of we are over a preparing distant for the vision set us a study schedule, how can he reach those goals in certain time? So we must organize the students how this kettle must be if we're already teacher. And as I said, maybe you, your country or your city, you're already preparing students. There are many Ah, sometimes his higher education sometimes is, ah, medium high. So it doesn't matter if you're already teaching any kind of program, you must understand you are preparing a student for a professional career, and if you don't teach something properly, this is going to affect the future of the Stewart. And that's why I'm saying that I'm getting out of their chairs about this because this is not a joke. And if you don't teach properly the consequences off this student that this is student is going to half. Maybe he won't be able to to get a job. Now he won't be able to play certain kind off music or exercises or pieces. So this is very, very important. And technical perfectionism is required. And as teachers we must. It can be a little bit tiring when we have to concentrate so much and about this perfectionism. And what about the finger and wearable the breathing, and you have to be their friend in the way you read. But it's required because this is not a games in the Hovey. So we must understand that and leave their students through a very efficient study habits because they're not going to be our students all their lives. And they're not going to be students in the daily basis off taking a daily class. Oh, all their lives. So they must be able to learn how to study on a study by themselves on develop Andi, develop a better technique and learn more pieces by themselves. So this is very important to learn them, not I'm sorry to teach them and guide them to develop efficient study habits It doesn't matter what kind of teacher what kind of students it is. It doesn't matter what kind of professional musician wants to be. Maybe he wants to be part of an orchestra, small orchestra or me. He wants to being, Ah, Wind, Ah, brass band. Maybe he wants to play contemporary music. The implications are strong, and we must be aware off the really high responsibility to teach students that want to become professionals. The good thing off this is that we were currently teaching this kind of students. This kind of teaching leave us to improve ourselves. I'll continue, continue growing on learning. So I I personally love teaching higher education because it's really demanding. But it's very it's very It feels very good when you watch the student girl. Um, the student makes you grow yourself, so this is very interesting. The very it lives you too very much your moments as teacher. So I highly recommend to teach this kind of students, but humans be aware off the responsibility 7. Repertoire: No. Let's talk about record toe what is known as repertoire? Well, it's all those musical pieces composed for a specific instrument. Maybe there are many pieces that are written specifically for this instrument, but you could have an arrangement of something for orchestra and have an arrangement for your instrument. And besides that, we have oldest methods that are like, you know, like the textbooks. So this books are especially composed and decided to develop something. Maybe you can learn hard to play this specific go kind of music or when you start reading. And how are you going to connect with your instrument now, when all those methods and music musical pieces and he would talk in general about the purposes off the river? 12. We have that you can choose your repertoire to develop a specific skill when you have a student and you have to decide which book you're going to use. With this a student, you have to think that sometimes we choose on a specific piece or book to develop a specific skill. We can use this to she's sister than how to play a specific music style or a specific music general. It depends. The student and there are some important considerations here. And sometimes we just want to enjoy the peace. The student And maybe it's Christmas is coming. And so this student wants to play deck the holes, something like that. But as his truth passes teachers as teachers, we have to consider that it's our responsibility to choose the correct Roberto. If you choose a music piece that is more difficult. Mainly, the student never is never going to play in the correct Dwight. For example, if it's a beginner and I choose, uh, debut, see peace? Well, maybe if this student hasn't laid anything from Mozart or maybe the reading off the notes, it's not very good. How can I asked the student to play there, you see, So this is very important. And unfortunately, it's kind of come on to see that sometimes teachers give the student pieces that are too difficult. Maybe because the parents want them to play something, or even though the student but remember that you are. The professionals are joining charge to make a balance between what they want under what they meet. So you have. We have turned the lights, so think about your students and think about the students level on needs. Special needs. This is very important because if your student want to play certain piece, but he needs to develop something about the instrument. For example, if it's a wind instrument, maybe it's something about breathing and the peace requires a higher level. Well, then you cannot give the students that piece. We have to think about the H. Sometimes parents want their kids to play pieces of that are really not for kids. And because you want to find a piece that the student will enjoy and feel motivated. And this is so, it's absolutely important to fight something, according to the students age. And of course, the preferences. Why not? We can ask the students, especially if it's Ah, older ifit's not a kid what kind of music this student like, and this is very important. So we have to be aware of the responsibility that we asked teachers have, and we must use the Ripper to us. A tool, as I wrote in this is life. The repertoire is a tool to develop certain skill, not is the purpose in itself, and I have seen this many times student that place Not very well, actually. The peace that is playing it's, ah, precision and damage because it's not only it's not improving its playing worse. Why? Because it's not the suitable piece for the students. So it is our responsibility to choose to find out all the repertoire and because of the Internet, we have access to all these musical pieces. If you're student IHSAA five year old kids, we cannot give them just, ah, a bunch off boring books. We have to go and look and try to find something that looks amusing, that maybe he can no cool or the drawings or something like that. So we have to be very creative and asked the student what he wants. So what? He wants, what he needs. And sometimes we have to sacrifice, including What do we want? Because it's kind of common to to see the teacher that teachers give their students the pieces that they like to play. So be careful with that. You have to make a balance between what they need on one, like on what you will like them to play 8. Teacher´s assignment#1: one off. The main goals of discourse is to produce a positive change. If after you have taken this course, you have, uh, even the minimum but positive change and important reflection about what being a teacher means Well oh, great. I will feel absolutely satisfied and proud of you. And that's why there are three teachers, a segment in discourse on their very important. I really would like you to tried this assignments. And don't let them, like like suggestions. Try to make this assignments and please let me know. How do you feel on if you have reached another result? And you have found that there's a different result, your in your classes. So here will. First I want to take a moment to think about your students. I think about old. Your soon said You are teaching right now. And what did you think of them? Did you think that they are talent if that there there's a future in music for them? Or maybe you are a little bit disappointed, Jude. I don't feel very motivated to keep teaching them. Maybe not to all of them, but maybe there are some students there that you really don't like to teach. I told I want you to take a piece of paper, take a pen and here's interesting part, right. The name off to over your less engaged suits. You have to be honest with yourself. Have to be very honest. Think about two students that they look like they may be. Their parents are forcing them to come to your classes. Or maybe they don't seem to. They don't see to be learning. So choose two of them. I'm write down the name off them. No. Think about true activities that are not working. Okay, It can be you, for example. You want to count and they don't want to count. They don't care about the rhythmical figures. Or maybe they don't play scales or they don't want to develop a group breathing. I don't know, but think about three activities. Not true areas off. The learning is I'm not trying to Oh, well, the student doesn't want to do his homework. No, no. Think about treat the specific all activities and now you have to fine dream you activities to replace those activities. So if you have to students, you have to find three activities and not the same activities. So you have to find maybe six and you have to find tree new activities to replace him. And I want you to think different. How could you try to reach the same goal, but through another way? So think be creative. Write down everything because sometimes we can, you know, think about well will be a good idea. But if you do write down, maybe it's gonna be lost. So do that and try them. Try them. Take maybe a couple of weeks and start doing that with your students and let me know let me know what's happening and will be very glad to hear about your experiences. So this is a teacher assignment number one. 9. Multiple Intelligences: Let's talk about this very important on modern educational theory called multiple intelligences. First, let me ask you a question. Do you think that intelligence can be measured? Most of us have done the I Q test at least twice during our lives and this intelligence quotient test. What does is that it measures the verbal comprehension, perceptual reasoning, processing speed on the working memory off every individual. And the results are compared to all there's results to the other results from individuals from the same age. So they compare the results on they get, they get an average. So that's That's why that's how they can say that you are, ah, highly developed. I like you well, your result is highly developed or it's a you know, the average or are under the minimal. But the situation is that made me this kind of test is it's not relieved related to all the areas off our learning process. Not only the ones that I mentioned, so what, Dr Howard Gardner says, And by the way, he is a psychologist and professor of education at Harvard University, he is considered to be in the 100 most influential public intellectuals in the world, and he has received several awards, like in 2011. The Principles. Tereus Award for Social Sciences 2015. The Brock International Price in Education on what he says is that people learn in a different way, each individual has a different learning process, and the way he perceives everything, it's not the same that other into readable. So he divided this multiple intelligences in eight kind, all kinds of intelligence. The 1st 1 is a special passion from sorry special Intelligence, and it has to do with how we ah concepto allies space, for example, on architect, it's a person that has this kind of intelligence highly developed. The other one is the bubble ickiness, steady intelligence. This is related true or body. For example, He dancer has this kind of intelligence. Developed musical intelligence, of course, is the is the way that we we learn, and we relate everything to how would perceive the sounds. And that's how we that's how we learn. The Fourth Intelligence is the linguistic. It has to do that the way that we express how we manage our language. Number five is the logical mathematical. How do we understand symbols. How can we saw problems that involved involve logic and mass? Number six is the interpersonal and inter personal. It's related to the way that we connect to other people and how we react to other persons move and feelings. The next one is that in chop person up. And that's the way that we perceive ourselves and how we react in society according to the way that we perceive ourselves. And the last one is a naturalistic and has to do with nature how in the regional perceives nature and everything that it's in wolf. So to try to understand this theory, remember when you were at school and maybe you were a little bit like this, this child, that it's in the picture, this floor. Oh, and try to remember once that you were trying and George struggling. Uh, you're trying to understand a math problem or something about signs I don't know. And you were really struggling and you were experimenting frustration because you didn't understand anything, and then he drew were having bad grades. You are getting bad grades and you were feeling these understood and and left behind. Of course. Maybe the rest of their friends were able to solve. Those kind of problems are understand that. But you just didn't understand anything. So the learning process Well, there was no learning process, but suddenly a friend came and he explained everything in a way that we understand everything and everything was just clear. Suddenly May was a teacher. Another teacher came and explained to us in a very easy way. The situation here is that the person that explained to us hey percent of the problem in a different weight Maybe you waas they were using something about linguistic are a special. It was related to the way that we understand and we learn. So the next time that you are dealing with your student and the student seems to just don't understand that you work what you were trying to teach, try to teach in a different way. You were writing something. You can do drawings or you can play and just give the example in a very using that your training or another way. Maybe that can change the way the student perceives the example. And he saw the lead is going to understand. I'm gonna let you with this colt. It's from Rita Done, and it's from the on Bridges multiple intelligences lesson plan book. And it says that if a child or a student is not learning the way you are teaching, then you must teach in the way the child, older or a student learns. That's the way it is we have to try to at that or teaching to the way or student learners. It's not the other way. Sometimes we explain something, and we think that well, if they understand, that's okay, if if he doesn't understand, it's his problem. But that's not correct. So we have to open our minds on try to teach in a different way in order to improve the learning process, according to the student, because after all, the teaching must be student center, not teacher center. 10. Teacher´s assignment #2: we are now at the teachers assignment number two. And I want to know what happened with the teachers. The same a number one. Did you try it? If you haven't done it? Well, you're still in time. So I really suggest you to start with that segment number one, and, well, maybe you can do assignment number two at the same time. So remember, what is the main purpose of discourse to produce? Positive change. So I want to ask you a question, and this is very important. You have to be honest with yourself. Why don't you teach the way you do? And I am skin, Dad, because we always ruptured, reproduced the weight that we were talk. This is part of our nature, and maybe we don't want to do it, but we do it. We learned many things from our teachers some, and I hope that this is the case. Most of them good things. But sometimes we learn stuff that waas Not exactly as positive or or good, considering many recently discoveries about how people learn on what is the learning process. How the learning process must be so think a little bit. Why did you teach the way you do? I haven't. Teacher. Did you have hired occasion for several years now? And I have seen that special in music. There are many teachers that maybe they don't have that. Ah, they haven't been prepare for teaching on the explanation that they give when you ask them . Why did you teach the way you do? They say, Well, because that's a way. Hi, I was thought so. I were thought in this way. So that's that's why I do it. And maybe it's tradition then. So that's a way. Do it you have. You have been doing this on all your life. So is the only way, you know, maybe the only way to learn to read travel class office. I've, you know, writing 1000 times and a most annulled. I don't know. I'm just kidding. But it is an example of how sometimes we really reproduce while he what have we've been doing all our lives. Maybe that is his way. If I try, another thing is going to take more time or I have to prepare activities and I don't want to. I don't have the time. There are many implications here. And of course, the purpose is not to judge is just to have ah reflection about this. So think about those areas of your teaching that you don't like that You think that those areas need an improvement. So try something new. I wonder truth again. Take a piece of paper, take up Ben and right down a new activity. Something that maybe, you know, that is being don in other places. Or maybe some of your colleagues are trying it, and then you don't feel. I mean, it's something that you are not used to. I wanted to try that Maybe you don't like to sing during your lessons. You don't want to sing the name off the notes. And you don't want to use the methanol because maybe students don't like to use it. So would you Just don't use it, you know? Want to have any problems, So try something new. So the essence off this assignment is to think out of the box. We have to break the pattern and try something different. Remember, if you want different results, you have to do different different things, different activities, and so aside, monomer those think out of the box and please let me know how are you were doing and go to the discussion board and right? Any comment? I will be very glad to hear you, old guys. How are you doing? Which is a segment? Okay, let's go. 11. Class Activities: Now let's talk about class activities. How can we successful Develop an instrument class? How an instrument plus must be a structure. Let's be honest there. Tree main aspect or tree main moments that on instrument class Crucially, Yes. In general, we can say that first, would you know what we checked? Homework. Then we go to something new. The new homework. We can say that and other activities. And well, if you have a fit him in its class off off course that deserve pants on. What kind of class are your teaching? I mean, sometimes you can have only one student and many music academies. You have two or tree students. The ideal is wants to that. And that's what we're going to focus. So first, if you have a 30 minute class with only one student General, do you spend your time? You know, check him the lesson that was for homework and then you go to the new lissome. If the last one is approved, we have to be honest with that. Ive the student has to continue with the same less on them. Well, we ran out of time and the 30 minutes are gone But what happens if you have? Ah, 60 minutes class? Well, sometimes, you know, we start with warming activity, then we go to the left on that lost for homework. We spend time improving the homework because maybe there was some steaks, and then we take a look off the new list or all I can say. Then you hold work. But, uh, here's a problem. What happens? What happens if you want? Activity doesn't work. If there's something that you're doing that dozen Lou clock is working. Maybe the if it's a child starts, you know, Ask him what time is it? Ah, what time in my debt coming back or something like that? And And what happened? What happens? Ive the student didn't practice. What can you do if this through them do in practice? This is more common that we can respect. And this is a reality. Sometimes students don't practice and we're going to do so. Imagine that you have a 60 minutes class and after 10 minutes do you realize that your student is scaring Ward? Your student didn't study. So what are you going to do with the rest? 50 minutes? Maybe we feel that we are like driving one road, and then we have and the choices that we do not what to do. We cannot read the signs right? And sometimes we started, like, you know, like just wasting time and trying to get to the all work where the parents is going to pick up his child. Once I heard the Cali saying, Well, I didn't know what to do and generous. I just live the child, make a drawing anything. Nothing that has to do with music. Eso Why are we going to do this? Is the problem? No. So what's the solution? Well, when did you have this problem? If you get to this point that this is not working the childhood and study or any student didn't study, you have to think that this moment becomes an opportunity. It's an opportunity to develop something, to learn something new or reinforce something. What's the solution? Well, production thing that there are many if Yoriko aspects that we can go on and we have many, you know, practical areas. Uh, according to the instrumental we are teaching and according to this, we have to think there are many activities considering for example, gee, if we're talking about music theory, we can think about the notes, which notes where the notes, Maybe a little bit of reading rhythm. We can, you know, say the notes say, make exercises with the rhythmical figures about writing, learning different class. That instrument character is accepting many, many activities, and this is only a very short list. But you can name many areas off music theory that you can develop in your class. Now even that maybe it's not a theory. Music theory class There are many things that you can teach and let's go to the practical oh side. Well, you can teach position fingering technique. Ah, have a good strength. Ah, rhythmical combinations. There are many things that you can do with your students. You can stop and, you know, do some exercise practice, some exercise and training exercises, a limitation playing. What about if If I make this to them, imitate what I'm saying? You know what? I am playing this very good, and the student can develop your training and maybe the students not going to feel that his , you know, like just repeating and repeating the homework, which we have To be honest, that's very boring. That so flooring. Just repeating the same lesson over and over. That doesn't make the student grow in a musical way. So we have to develop my activities. That's the key. That's this main strategy to make all classes successful. Where are we going to get all those activities? Imagine that we have this bunch of activities, like 20 activities that you can develop in your class. So if one activities not working, did you go to the next one? And I don't know if something's happening. Maybe, and you can use on dollar activity. It doesn't matter if you parade. If you improvised, you're in the class. This is very important on where we're going to get all those activities. Well, you can think about your own experience as a music teacher. As a music student in General Assembly Station, you kept, you know, do a little bit of research on the Web and try to find many activities. Books, of course, from your colleagues, did you have to, uh, be a custom to ask others professors how maybe they deal with certainty to Asia's, And of course, you can create on your own many activities. So be sure to be spontaneous and try and experiment and, you know, look for other options, Always thinking that with something it's not working is on opportunity. It's not a failure is an opportunity, so try and the shirts have chance of activities. 12. Chapter II Teaching Methodologies: We're now a chapter number two, and I let me ask you, Have you done the assignment Number one? I really hope that you have already start doing it and dear, in this chapter, maybe you can apply some off the things that we're going to analyze even before getting to assignment Number two. Well, in this chapter were want to analyze Howard Gardner's multiple intelligences theory? Why is important and why is related to our daily teaching, where were internalized different types of learning on different activities that we can use to involve or students. This is very important to take a look of this method biologists in order to apply them properly to our daily classes. So let's start with chapter number two. 13. Teacher´s development: We're now a chapter number tree in chapter number Tree. We're going to make a personal reflection about some professional ethics and important consular agents and how we can develop our professional career as music teachers. How can we develop some important recitals with our students if we want to develop on studio and the difference between working on academies and on our own? And, of course, we have assignment number treat. I hope that this course is really helping you to improve your daily teaching. So let's a sorry chapter number tree. 14. Teacher´s assignment #3: we're now at the teachers assignment number tree and more than an assignment, this ah, brief professional reflection, which are your professional goals. Maybe you are correnti innately teaching because you decided since the beginning. But maybe you're teaching because you have the opportunity. And maybe you are not absolutely sure that you want to keep teaching the rest of your life . But the reality, it's that there are many job opportunities as a teacher. So you have to reflect, and you have to think about. Why did your speech is? Because you like that. Maybe you don't like your job. That's a reality. Sometimes we are teaching because we have this opportunity. So we took it. But it's not what we want to do. Us professional musicians. But if you are going to keep teaching for a while, well, I challenge you to take advantage of this experience on and share your knowledge in the best way possible. So we have to make a decision. What kind of teacher do you want to be? Did you want to be a common teacher? Because let me tell you that even if we don't want to be teachers of rest of our lives. We are always teaching in a good or a bad way, But students are always learning from us, so we have to decide what to do. So I really challenge you. If this is the case, try to take the best off this experience. So here's the assignment. So I challenge you to take a piece of paper and to write down two goals that you would like to achieve as a music teacher and as a musician to you can ride for if you want. Maybe you want to be. Ah, you don't have your own group or Jerome band. Or maybe you have you want to have your own school so that right two goals can be on long term or short term goal. Maybe you want to improve the way that you teach. You want to men answered your classes in a better way. You want to encourage your students. You want to try and maybe teach another kind off music you can. Maybe you want to teach theory. Do you want to prepare recitals? So right. Two goals as music teacher and as a musician and write down how you're going to reach those goals. Sometimes what we write down, it's like, Ah, like, could come for my So we had quiet with ourselves. So I I challenge you to the dads and start doing something about that. So this is the assignment more than us on assignment. It's, uh, professional challenge. So I challenge you write down that and start doing something about that. 15. Developing your own studio: Let's shook about developing your own studio. Who have you ever thought about Developed your own studio? Maybe you think it's a good idea. Remember, you think it's not worth it. So let's analyze disadvantages and advantages off having the control off your classes and teaching you. Maybe you can teach in your place if you're into place. Where do you live? It's have a good space where you can adapt to have your own studio. There you have it in your own house. Or maybe you can grant a place advantages. Okay, having your own studio brings you teaching independence because drew the side. What kind of program do you want to follow if you want to teach once a week 11 hour, two hours. But if you want to have small groups or only wants to them for class, having Euro studio brings you more revenue because you don't have to share the monthly feet . All the money go to use your fork it so it's a really a good advantage, and it brings you freedom to innovate. You're free to try many things and to be spontaneous because you are in charge off the way that classes are developed, so it's very interesting, really. If you think about that, there are many possibilities, and it's very interesting. What other? This advantages. Well, of course, if you start your own studio at the beginning, maybe not many people know about your work. Whether you're doing so, Juergens have a slow growing. If you're a planning to quit your job just to start your own studio, you don't have enough savings to wait until people note your work and you will have yeah, more students, so that can be a problem. So be aware of this. It's not very fast growing. Well, you have Jim Asta for advertisement and any kind of expense. We're working a music academy, of course, all the the owners of the academy. They are in charge of everything and sometimes and there's pizza bigots cool, and you have many instruments, and it's something good for your right. And when you start your new studio, you really have to go step by step. So how can this be done? Where to a start? Maybe you would like to do it, but you think it's too difficult that it's too expensive and I don't know What did you leave? And if you live in this small city, what kind of country you are or it is Mole town. What kind of music programs are no place as you live? So this is something that you have to consider. And you have to establish your profile. Think about your profile. Maybe you are. You have a master's degree. You have so much experience on many people know you. So this can be kind off good for you. And maybe you can teach professionals of you people that are currently starting to become professional machine musicians. Maybe you didn't got to any university. I have a friend that she is a very good piano teacher. But she then want to any university just study music. Both. She has, um, her own studio, and she's really developing a very good job with kids. She's very good. She's very organizer, so you have to establish your profile. This is very important on another things that you have to be honest. Sometimes when we want to have more students week, there's a risk that in order to have more students, we can promise something that we cannot ah achieve and this is very important. You have to be honest. I personally don't like this kind off. Teachers are academies that promise you that they are the best, and then they teach everything because that's not true. So you have to be honest with yourself. With your students, you have to choose your audience. This is according to what we said about having established your profile and be honest. So you have to choose if you want to teach kids what maybe you can look and the place where you leave any. Go to elementary schools. Kindergartens talk to the principles there, and maybe they can allow you to ah, distribute information about your old studio and you have to send and your strategy. As I said, if you live in a small town, may be going, going and give Ah, some pamphlets in that doesn't work, but maybe you live in Ah, very huge city. Maybe a social media can't work, so you have to. They do a little bit of research on the place where you lived and think What can war? So get recommendations first established. Your profile. Think which kind off students that you want and what kind off classes. Can you teach and said realistic goals? You have to be honest. As I said, this is a can be a little bit slow. So you have to think be, uh, Jeff to persevere in order to reach your goals. And your goals must be realistic. Maybe say, OK, I'm going to quit my full time job and I'm going to start trying to get students and I'm pressured aren't going to get 50 students on the 1st 2 months. Well, that can be a little bit difficult, and they need won't happen. So you have to be very organized in order to develop germ study. But of course that it is very possible and very 16. Recitals: this lecture is dedicated to recitals, and first we have to be sure that we have gotten to the conclusion that recitals are very important, every music students should play in public and why. Well, this is because playing in public is a conclusion off a musical process. If you haven't preparing any peace, the idea is to play it in public. You're going to develop more confidence on the musical preparation. Readiness is going to be much better music. It's something that it's it's alive. You have to be there, or it's something that happens in the moment because it involves sounds and somebody playing in that moment. So it's a live thing. You must organize recitals with your students. Maybe you are developing your own studio. Maybe you're working on a small academy to live in a huge city or a small town. It doesn't matter. Juma's organized once or twice a year recitals with your students. This will help your students to feel motivated. Play him in public, becomes something natural. This is very important. Imagine that as musicians we have been playing since we were three years old or five years old, two or three times a year. If you have bean studying music for about 15 years, now work. Ah, then that's 45 times so really, really. This is very important public planing. Public becomes something natural. So students feel motivated absolutely because they enjoy the moment and they want to keep playing in public. And, of course, family shares experience and they are happy to keep ah, their Children taking pan and musical essence. This is very important on, of course, because you have your students. May be your students are older, well students, friends, family, all their students, teachers that develops a musical community. And this is very important for every student. So how to make your recited successful? This is an important area because if any students play and it's not really prepared for that, maybe the experience instead of motivate him it's going to disappoint him. And we don't want that. So remember, include most of your students. If you have a five year old student, maybe he can play something and you can play with a student. He doesn't matter dead. Hey, place only a very small lesson. This is very important and you can do that. Give the family involved. Let them be part off this experience, and they're going to enjoy the experience, and they would like to keep ah, their Children involved and playing more times. And this is important. Be sure that the repertoire is well known because if do you want to, uh, put some pressure on students and you make him play something that it's not, we leave well known. It can be a bad experience, and we don't want to that so it's very important to take the time on play pieces that they really know. This is absolutely important. Get involved Getting both in this. This can't be something that you're really you really enjoy and play with. Your students do play your you can play alone and you can play with your students. And if you have a small community, maybe Dura. It's small school. Well, all their students can play all the instruments, other teachers, and this can be a very motivated experience that I really encouraged. Richard. Try to do it. It's very important, and the most important thing is that it's necessary for your students 17. Congratulations: we are now at the end off this course and congratulations. Congratulations. Because since the day that you started enjoying it, this course you showed that you have a conscious on Did you want to develop your daily teaching in the better? On a better way, I'm in the best way possible. Thank you. To be part of this experience on, please let me know how you felt. And what do you think that can be added to this course? In order to improve this course? Remember that this course is like an organic thing. So it's growing and can be developed in many ways. So thank you. My name is ill solution area. And he was an absolutely pleasure to share with you this course from installations.