What’s in Your Lesson Bag?

As a teacher who travels to a store to teach lessons, I have learned how helpful it can be to consistently bring certain items to every lesson. Items may have changed, added or deleted - but they are always with me so that I have what may be needed on hand. This not only keeps me prepared, but is helpful for forgetful students who may not always bring what is needed.

I have a dedicated book bag filled with teaching materials which allows me to "grab and go". Here are some of the items you may wish to keep in your bag. Some items may seem basic, but how many times have you forgotten to bring something? Plus, it is great to have two of certain items – one for you and one for your student.

• Guitar Cable (2)

• Capo (2)

• Tuner

• Footstool

• Metronome

• Picks

• Strings

• Bluetooth Speaker

• iPod

• Adaptor cable for iPod to speaker/sound system

• Writing Utensils (pens, pencils, markers, high lighters)

• Paper (blank, tab, staff , chord graphs, handouts)

• Books (method, music, tab)

What’s in your lesson bag? Let know me know if there is anything I should include on my list.

Where to Teach, pt. VIII - Group Lessons

As a guitar teacher most of your instructional time will probably be spent with individual students; however, there are situations where group lessons may be called for. In this final installment of “Where to Teach” I’ll tackle the topic of group lessons because as guitar teacher this may be the format when working in an outreach program, community center or teaching an introductory class at a store/music school.

Group lessons require a bit more planning than individual lessons simply because there are more people involved. When teaching one on one, a teacher considers learning material for a single student’s age, ability level, likes and/or dislikes and that which is appropriate for their stage of development. However, in group instruction students could have a range of: ages (children to seniors), skill level (those who have played or who have never played) and learning ability (students who learn faster/slower than others). Moreover, the number of students one works with can add to the challenges of teaching group lessons.

Let’s take a look at some items to consider when preparing a group lesson.

· Grouping – When working with a large number of students it is important to think about how you will be teaching as time spent with individual students is very limited. Starting with a broad topic which you can teach the entire group is helpful and then you can have students work individually or in smaller groups. Moreover, think about grouping students by ability or musical parts and don’t be shy about designating a group leader.

· Age Range – This is important because older students will generally pick things up more quickly than younger students. Whereas, you may need to bring separate materials for younger and older students to work on; in other words differentiate your lessons according to age.

· Ability Level: You may be thinking of teaching only “X and Y,” but even if you do teach students of the same age chances are there will be students who pick up the material more quickly than others. Therefore, having supplemental or more advanced material at the ready is all the more important.

· Topic: Consider what can be done with your lesson topic to involve as many students as possible. For example, if you are teaching sight reading have duets prepped so three students can the top line and three on the bottom; then have students switch parts.

· Management Skills: If working with younger students, you may need to develop some classroom management skills. Also, it is a good idea to establish signals which lets everyone know to stop playing, focus on you or come back to the group.

If you have experience teaching group lessons I’d enjoy hearing your thoughts regarding approaches you have found successful.

Where to Teach, pt. VII – Distance Learning (Skype Lessons)

     This month I’ll be continuing the series of posts entitled “Where to Teach” by discussing distance learning. If you are unfamiliar with the terms “distance learning” or “distance education” they refer to online education for students who are not physically present. In the area of instrumental lessons they are more commonly referred to as “Skype Lessons”.

     Many guitar teachers today seem to be utilizing distance learning for a variety of reasons, but like everything else there are always pros and cons – let’s take a look.

PROS

· Travel: The teacher does not need to travel to a store or student’s home – they can teach from a location of their choosing.

· Time: Lessons can be scheduled for any time which is convenient for both teacher and student – late evening, early morning, etc.

· Make-up: If a student has a 24hr bug or can’t make their normally scheduled day/time, you can Skype the lesson when it is more convenient and not wait an entire week for the next lesson.

· Student Performance: According to one study, student’s performance “increased more than 22%” (keep in mind the sample size of the study was a total of 3 students, so it is hardly definitive research).

· Less Off-Task Behavior: The same study also found that distance learners exhibited less off-task behaviors. Whereas, “off-task behaviors comprised 36% more time during face-to-face lessons”.

· Increased Eye Contact: Once again, the same study found an increase in eye contact during distance lessons.

CONS

· Technology: Distance learning requires a degree of comfort-ability with technology, so if technology is not your strong suit you may want to rethink this online platform.

· Internet Connection: Connections can drop mid-lesson and cause minor disruptions.

· Sound: The quality of the distance learning is definitely not “first person”, so be prepared for a less than pristine sound.

· Notes: You will not be able to make notations in a student’s music, write in their notebooks or make written corrections; the student will need to do all the notetaking.

· Hand/Body Adjustments: Since you are not physically present you will be unable to adjust hands, fingers, arms or elbows.

· Limited Point of View: Your point of view on a student is limited to the current camera view; no watching hand movements from different angles.

· Time Lag: Because of a time lag you will be unable to accompany students or perform duets with them.

I’d enjoy hearing your thoughts on distance learning – what has been your experience? Feel free to comment.

Where to Teach, pt. VI – The Travelling Teacher

Over the last several posts I have been delving into the various situations guitar teachers may find themselves working in and the pros and cons of each. This month I’ll be talking about being a travelling teacher or driving to individual student’s homes for lessons.

Being a travelling teacher is not a situation that is for everyone and when I travelled to lessons there was specific reason I did so - the lessons I taught were on a side of town where my band rehearsed. Needless to say, it was convenient to teach lessons in a situation I normally would not as I was on that side of town anyway. And in the spirit of full disclosure, these students were ones I had taught for several years prior (before I moved), were children of friends or I had been recommended by a mutual friend – I was not actively seeking to be a travelling teacher. That being said, although I always enjoyed teaching these students I did not enjoy the act of travelling to and fro. But, like all teaching situations there are positives and negatives.

Pros:

· Increased Lesson Fee: more than likely travelling teachers will charge a premium due because of travel time, wear and tear on a vehicle and the convenience for a student having lessons in the comfort of their own home.

· No Set Location: some teachers do not like working for a store or school and would rather not have people coming to their homes. For these folks, travelling to lessons is the preferable option.

· All of the Above: some teachers teach in all situations; in order to maintain a full studio they teach from home, at a school/store, Skype lessons and travel to a student’s home. If teaching is your main source of income this makes sense.

· Tax Write Off: the miles you travel may be a tax deduction – speak with a certified public accountant regarding specifics.

Cons:

· Staying on Schedule: because one is travelling to lessons any number of things can impact your scheduled arrival time (weather, traffic, etc.…), leave ample time between lessons in order to stay on schedule.

· No One is Home: have a policy regarding cancellations; travelling to a lesson only to find the student is not at home can be frustrating.

· In-Shape: keep your car in good condition as it is integral to your livelihood. If there are mechanical issues it will impact your ability to earn a living.

· Limited Lessons: travelling to lessons limits the number of students one can teach in a given day.

· Pack It Up: you’ll need to bring all your teaching materials with you in order to have everything which may be needed for each individual lesson.

· Lesson Ready: some students may not be “lesson ready” when at home as they may feel more inclined to fool around or drag their feet.


If you have been a travelling teacher what have been some of your experiences? I’d enjoy reading your coments.

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Where to Teach, pt. V – The Home Studio

     In the last several posts I have discussed places to teach guitar lessons and the pros and cons of working in each environment. One of the most popular places people teach from is their home; while on the surface it may sound ideal keep in mind there are positives and negatives. 

     Teaching from home is a wonderful situation that many enjoy, but it means establishing a dedicated space to teach from. If you plan to conduct lessons from home creating a professional working area is a must – sorry no lessons at the kitchen table!
     

     Here are some of the pros you can expect when working from home:

1. Payment: You set the lesson rate, payment schedule (monthly, weekly), keep the full amount of each lesson and collect the funds. Some people are shy about asking for payment - you can't afford to be.
2. Schedule: The schedule of what days to teach and for how many hours is determined by you.
3. Tax write-off’s: When operating a home based business you are entitled to tax deductions. These deductions range from office space to supplies, so keep those receipts! 

     However, let’s not forget there are cons as well:

1. Strangers: There will people you do not know coming into your home and you’ll have to be ok with that.
2. Keep it clean: Your home studio will need to be clean and organized to set the stage for a professional learning environment.
3. Rules and Procedures: You will need to set-up clear rules and procedures for lesson payment, cancellations and make-ups.
4. Advertising: Whether you rely on word of mouth or advertise in a community newsletter attracting new students is solely your responsibility  .

5. Insurance: It is always a good idea to have insurance just in case someone slips and falls in your home; remember we live in a very litigious society.
6. Accounting: You will be solely responsible for keeping track of how much money is made and what your expenses are.

7. Taxes: Uncle Sam is going to want his share so make sure you are setting money aside to pay the government. You may wish to set up quarterly payments with the IRS if you are self-employed.

     As an aside, if you are teaching young students and teenagers make it a general rule that parents must sit in and watch the lesson. This will help cut down on any messing around by younger students, keep students accountable for their lesson material and make parents’ part of the learning process.

Have I missed anything? Please feel free to comment!

Where to Teach, pt. IV – The Downside of Music Stores and Schools

     Last month I looked at the upside to teaching at a music store/school this month I’ll tackle the downside. Looking at the list of positives to teaching guitar at a music store/school one might think, “Why wouldn’t you teach at a music store?” Well, there are several disadvantages to teaching there as well.

1. The Cut – a store will take a percentage of the lesson fee which ranges from 30 – 50%. This cut is generally referred to as a “studio fee” - you are charged for using their facilities, equipment and the acquisition of students.

2. Taxes – most often you are not a store employee, but an “independent contractor.” This means when you are paid, the store does not take taxes out and you will receive a 1099 form at the end of the year which reports to the IRS how much you have made and you will be responsible for paying those taxes to the government.

3. Getting Paid – again each store is different and some may require that you collect the payment from students. If that is the case, you responsible keeping track of money and giving the store their “studio fee” on a weekly, bi-weekly or monthly basis.

4. Numerous Teachers – you may not be the only guitar teacher on staff and therefore may have to wait for new students. In many cases new students will be rotated from teacher to teacher so each person’s studio remains full.

5. Students Are Not Yours – although you may teach the students “technically” they are students of the store/school. Students may be given to another teacher if schedules change and your teaching days do not match with theirs. Additionally, it may sound strange, but some stores/schools will ask you to sign a "non-compete agreement" (were you are not teaching in other locations while working for them).

Have I missed anything? Please feel free to comment!

Where to Teach, pt. III – The Upside of Music Stores and Schools

     In 20 plus years of teaching guitar I have taught in a wide variety of situations and found each to have its own set of unique challenges, benefits and pitfalls. Some might say, “I’d never teach there” but, don’t dismiss a potential revenue stream on face value. This month I’ll continue on the “Where to Teach” series by going through the positive aspects of teaching at a music store or school. 

     A music store is a retail business which also offers instrument lessons taught from in-house studios and a “music school” is specific to teaching private/group lessons. There are several advantages in teaching from either a store or school: 

1. No Advertising - you do not need to place ads or rely on word of mouth; the physical storefront, reputation or location is what brings students in.

2. Students – over time you will most likely have as many students as you want and chances are they may ask you to teach additional days.

3. Studio – the store/school supplies a place to teach and most also equip the studios with music stands and amplifiers (some may not).

4. Central Location – all your students are at one location and come to you.

5. Supplies – most anything your students may need (tuners, method books, strings) can be purchased on the spot if you work at a music store or the school sells supplies.

6. Recital Space – some stores/schools may even have space to host recitals for teachers and their students.

7. Rules: the establishment may have its own rules regarding student absences and make-ups.

8. Discounts – many music stores often provide teachers with discounts on purchases.

9. Lesson Rate – in many cases the school/store sets the rate for lessons.

10. Getting Paid – each store/school operates differently, but if you are fortunate they will handle collecting money for lessons and give you a check on a weekly, bi-weekly or monthly basis.

     Have I missed anything? Please feel free to comment!

Where to Teach, pt. II – College/University/Public School

The guitar is one of the most popular instruments in the world and as such there countless people of all ages who wish to learn how to play it. One of the great things about teaching the guitar is there are a number of options as to where and how one can instruct students. Last month I outlined a number of situations one could teach in and this month I’ll get a bit more in-depth starting with the field of education.

Probably the most coveted teaching position for guitarists is at a university or college. Why? Well, for a tenured professor the pay is pretty decent, it has job security, accompanying pension and health benefits (here in the US), one works with high level students teaching lessons and guitar related classes such as pedagogy, history, coaching ensembles as well as conducting weekly masterclasses. However, in reality there are few tenure track positions in guitar available and when a position is open there is a large amount of competition. A full-time tenure track position at a college or university usually requires a minimum of a master’s degree, but a DMA (Doctor of Musical Arts) is almost always preferred. Additionally, some job postings may ask that candidates not only teach classical guitar, but jazz as well – you’re not teaching rock ‘n’ roll as a full-time university professor.

Although, getting a tenure track position at a college is extremely difficult, adjunct positions are more frequently posted. Adjunct faculty are those who are: part-time, paid on an hourly basis, may teach private and/or group lessons and work with music majors and non-majors alike. Furthermore, it is quite possible being adjunct faculty that one may teach popular styles of music as non-majors may register for individual lessons.

An area of growing need for skilled guitar teachers is in the public schools as more and more school districts are adding guitar programs alongside orchestra, band and choir. I say “skilled” because the guitar is a specialized instrument and many music educators are not prepared to teach it. Generally, music educators are from a vocal, orchestra or band background with little (if any) experience with guitar. Public education is a good career track which offers a salaried position, pension and benefit program. Moreover, teaching in the public schools may not always require a degree in education as many school districts offer a process called lateral entry. Lateral entry is an "alternate route to teaching for qualified individuals outside of the public education system. Lateral entry allows qualified individuals to obtain a teaching position and begin teaching right away, while obtaining a professional educator's license as they teach.” 

Have I missed anything? Please feel free to comment!

Where to Teach, pt. I – Options

I remember when I began teaching guitar and trying to navigate how to make a living teaching lessons or at least supplement my income. Moreover, several times in my life I have had to start from square one as a teacher, but each time it got easier because I had developed the knowledge and skills on how to do it. It would be nice if all one had to do was post a sign offering lessons and the students would just show up; however, it is never that simple and building a thriving studio will take time, patience and perseverance.

One of the great things about teaching guitar is that there multiple places one can teach – you can pick one or several in order to develop an income stream which works for you.

· College/University/Public School - class guitar, individual lessons for music majors/minors/general student population)

· Music School - geared toward individual lessons

· Community Arts School - focusing on a specific local population

· Music Store - usually a retail establishment which offers lessons

· Home - students come to your home

· Travel - the teacher goes to an individual’s home to teach lessons

· Outreach Programs – generally afterschool programs offered to school districts

· Skype/Internet – video conferencing lessons with students far away

Over the next several posts I will discuss the pros and cons of each teaching each situation. Until next time!

Building a Reference Library, Pt. IV – Styles

Over the course of my career as a musician I have always been interested in other styles of music; although I started out playing rock I have also studied classical, flamenco and jazz to name a few. Having studied other styles has come in extremely handy as a guitar teacher because inevitably a student comes in who is interested in: joining the school in jazz band, playing some country licks or even getting into some finger picking. 

This month I wanted to wrap-up the series of “Building a Reference Library” by noting several books which are wonderful starting points for students (and teachers!) with the basics of a given style. This is not meant to be an exhaustive list by any means, but some books that have been in my library which have been helpful to me over the years. 

The Keys to Flamenco Guitar, Vol. 1

By Dennis Koster

This is a fantastic book for dipping into the flamenco pool, introducing flamenco forms and rasgueado technique in a structured and easy to understand manner.

Swing & Big Band Guitar 

By Charlton Johnson

This is a great book for understanding the basics of “four-to-the-bar comping in the style of Freddy Green”. 

Bossa Nova & Samba for Guitar

By Mike Christiansen

One of my favorite books for getting into the rhythms and chord changes which are indicative of Bossa Nova/Samba style. 

Mel Bay’s

Getting Into….

This is actually a pretty neat little series Mel Bay put out. Two books I have from the series are Funk Guitar by Ronald Muldrow and Slide Guitar by Steve Dawson. 

Solo Guitar Playing 1

By Frederick Noad

This is a book about the classical guitar and has been around for years. It covers the basic seating position, techniques, note reading and includes a ton of music examples. However, if classical is a style your student (or yourself) and interested in learning I would highly recommend finding a qualified instructor. Classical guitar is one of those styles in which a well versed teacher is required as learning bad habits can take years to undo. 

Hope this is helpful and if anyone else has some style recommended books feel free to comment – thanks!

Building a Reference Library, Pt. III – Sight Reading

Back in December I began a series of posts discussing reference books that would benefit teachers to have in their library. This month I’ll continue and talk about some good books for sight reading. I know most guitarists don’t read or don’t read well, but working on it with a student is a good way to dive in and practice that skill! 

Rhythmic Training

By

Robert Starer

Before one even starts to read notes on the staff, it is a great idea to become familiar with rhythms. Rhythmic Training is good book to start with and there is an also a workbook available with various rhythm drills. 

Rhythms Complete

By

Dr. Charles Colin and Bugs Bower

This book emphasizes short eighth measure melodic studies, focusing specific rhythms with accompanying chords above. The rhythms don’t get much faster than eight notes and also supplies examples of picking patterns.

Reading Contemporary Guitar Rhythms

By 

M.T. Szymczak

This book has been in my library for years! There are one and two page studies and it emphasizes working with sixteenth note rhythms. One of the things that is unique is that it offers a rhythm guitar part with its own accompanying rhythm. It is from the Berklee Series and is out of print, but if you come across a copy that is not too pricey it is worth it.

Guitar Position Studies

By 

Roger Filiberto

The title says it all – studies in all positions. Of course you can read music in any position, but this is organized and helps to break down the fretboard positions and offers studies which are specific to each.

Sight Reading for the Contemporary Guitarist

By

Tom Bruner

Looking for a challenge? This is it! The book has position studies, but the trick is the notes are entirely random. This book can be frustrating, but you’ll get to know the notes - that’s for sure.

Building a Reference Library, Pt. II – Music Theory

In my previous post I wrote about building a “reference library” and talked about several books which are wonderful sources for everything guitar related. This month I’ll continue on the same topic and discuss materials that are good resources for understanding music theory.

Music Theory for Guitarists

Everything You Wanted to Know But Were Afraid to Ask

By Tom Kolb

One of my personal favorites and a book I believe every player should have in their library; Tom Kolb is one of those players who is also a wonderful teacher. The book is laid out quite well starting with Chapter 1: The Fretboard and makes it way through theory basics, intervals, harmonizing the major scale and even delves into complex subjects such as chord substitution and reharmonization. 

Creative Chord Substitution

A Journey Through Form and Analysis of Modern Harmony

By Ed Arkin

This book is no longer in print, but if you ever come across a used copy it is worth having in your library. It can get pretty “heady,” but covers topics like: Harmonizing the Major Scale, The Blues, Chromatic Alteration, Tritone Substitution and Quartal Harmony. There are some copies on Amazon, but the price tags are over the top. 

Music Notation

A Manual of Modern Practice

By Gardner Read

Ok, not exactly “music theory,” but the book covers everything you ever wanted to know about music notation and then some! The book is 400+ pages devoted to everything regarding music notation and I have referred to it any number of times when I have come across something I did not recognize or understand.