Piano Studio Policy

Students should have an acoustic piano that is well-maintained and tuned at least once a year.

Benefits of Study with Barbara

• Consistent & committed teacher
• Organized and planned year
• Variety of performing experiences (recitals, festivals, assessments, honors recitals, monster concerts)
• Variety of approaches are used for teaching repertoire and theory skills (manipulative, pictorial, symbolic, kinesthetic)
• Incentives and practice help
• Fun and professional atmosphere
• Continuing education through professional teaching associations to stay current in the music field

Media Release

By taking lessons with me, permission to post photos of students participating in piano activities (festivals and other events) is granted to media forms including, but not limited to, my website, Facebook, and Instagram pages, and my YouTube channel. Only first names of students will be posted.

Tuition

• Auto payments are the standard. Please add a credit card or PayPal account, secured through PayPal business, to the settings in your parent portal.
• Payments will be withdrawn on the 1st of each month.
• If a credit card is expired, you will be contacted to update it and make a payment by the 5th.
• A $15 late fee will apply if payment is not received by the 5th.

Enrollment is for the entire year September to August. *Seniors graduating from high school may finish piano study in May instead of August.

Tuition is divided into 12 equal monthly payments ($165 per month). Some months may only have two lessons, but the tuition is still the same amount. 

• The piano events are divided in this way: 30 lessons during the school year, 7 during the summer months, a few group performance classes, and 3 events (recitals). 
• Group classes are important for performance skills, theory, and social interaction. 
• Fees for festivals (National Federation of Music Clubs, Monster Concert, Silent Film, etc.) and materials purchased for the student’s use (Federation pieces) will be added to tuition or invoiced through Venmo.

Registration Fee  

• A $35 registration fee is due in September & prorated if a student starts in January or June.
• This fee is applied to studio supplies given to students for home use (staff/wipe-off board, etc.), and use of music lending library (not core curriculum or technique books). Keyboard Gymnastics (see the section titled, “Studio Programs” for an explanation of Keyboard Gymnastics) may also be covered with this fee if it is administered during the year.

Parents are responsible for purchasing materials, apps, and books for lessons.

• New beginning students pay a $30 materials fee to ensure that books are ready for the first lesson (Piano Safari Repertoire Level 1 and N. Jane Tan Fingers, Pitch & Pulse).
• The core books are the Royal Conservatory of Music books (Repertoire, Four Star, Etudes, and Theory). These books can be purchased locally at Daynes Music. Lists of books are also found under the materials section of my website.
• Technique books include Schmitt Op.16, Accelerando technique series (1-7), Finger Power (primer – level 6), and other repertoire books.
• Please make every effort to purchase locally at places such as Bountiful Music so that local businesses have our support. We rely on local venues for recital space and other conveniences.

Cancelation

Tuition reserves the lesson day and time for your son/daughter. Think of piano tuition the same way you think of other classes and activities such as soccer or dance. Tuition is due whether your child is able to attend or not.

Online lessons (Zoom or Skype) may take place instead of a face-to-face lesson. Please do not come if you are sick and contagious! A parent will need to be present during these online lessons for students who have taken lessons from me for less than three years.

Lessons missed by the student will not be credited, however, please give 24 hours’ notice of the missed lesson so I don’t worry about your family. Students may swap lesson times with other students in the studio, but please make me aware of the change. I may also contact you when gaps in my schedule are known in advance.

Lessons canceled by the teacher will always be credited. 

Being unprepared is not a reason to cancel. It’s harder to remember what and how to practice during the following week. Think of me as a personal trainer. I give the student a “workout” so the student can get back on track.

Lessons

Students receive a combination of private lessons and group performance classes during the traditional school year.  During the summer quarter (June, July, and August), students will receive 8 lessons. Students and families schedule their own lessons for summer on Google Docs/Google Sheets and this information is transferred weekly to My Music Staff.

*Holidays and breaks are figured into the piano year.

Performance Classes/Group Lessons will be held throughout the year in order to prepare students for performances, theory, and ear-training tests, and help the studio feel more connected with social interaction throughout the year. Students should attend the private lesson and the group performance class during that week.

Practice

Getting Instrument Time (Getting IT) is the most important factor in taking lessons. Motor skills need time and repetition with sleep in between sessions. Students log into the Better Practice system. 5 Days of IT (Instrument Time) is the standard for participating in my studio. If less than 80% is achieved, students will be asked to study with another teacher after the fall/winter semester (September – December).

Instrument Time (IT) should be scheduled into daily activities.  At the beginning of the semester, students and parents fill out a schedule detailing the student’s weekly activities and times when the student will get IT

A practice coach is important until the student is able to work independently. Whether with a parent or a well-seasoned older student, IT is more efficient when supervised.

• Consistent IT is necessary. The mind and hands need daily repetition just as the body needs food regularly, teeth need to be brushed, and dishes need to be done. IT involves problem-solving (thinking and evaluating).
• Repetition is crucial, but it needs to be accurate (correct rhythm, no pauses, and correct notes) so that correct neural pathways are being formed and not mistakes.
• Students don’t have to like IT or everything they are asked to do (and probably won’t), but every effort will be made to help students enjoy the music they perform.
• Sometimes students are not practicing, but actually performing for themselves in their practice sessions. Beware of “Shiny Object Polishers.” They work on their favorite spot and only that spot. This habit leaves the other parts of the piece ignored and usually many changes of tempo throughout the piece (fast = favorite, slow = “I didn’t work on this section”).
• IT at the beginning of the week won’t sound as good as at the end of the week. That’s okay! Instrument Time takes many forms:  1) learning new skills or musical sections; 2) maintaining what was learned; 3) memorizing; 4) drilling spots that need help, and 5) putting sections together.
• Goal-oriented IT is more important than how many minutes a student practices. Setting the timer or watching the clock is not the focus, but it does take time to work on the material or music for preparation.
• As the student’s repertoire and skills grow the length of getting IT grows, too.
• The balance between doing the assignment and how long it takes cannot always be defined. I like students to get Instrument Time in 20-minute segments and then take a brain break.

Studio Considerations

• Get IT (Instrument Time) 5 days each week.
• Wash hands or use hand sanitizer when entering the studio.
• Trim fingernails. Keep fingernail clippers in the pencil pouch within the student binder.
• Take off rings and watches.
• Save gum, candy, and electronic devices for after the lesson.
• Keep an extra pair of socks in the piano bag. Bare feet stink and socks rock!
• Bring all lesson materials needed for the lesson.
• Use the Better Practice app (website) for deliberate practice during the week.

Initial supplies needed

Students are required to purchase their own books, however, for sight-reading purposes music from my library will be lent to students. If lost, the book will be billed on the next month’s tuition.

Student Responsibilities

• Be prepared
• Use the Better Practice system and complete theory assignments
• Leave “bad attitudes” at the door
• Be open and communicate with the teacher
• Perform regularly. It is an important part of piano study. It is communicating and sharing with the listener or audience
• Listen regularly to RCM repertoire mp3s, Classical 89.1, or other Classical music.
• Attend concerts regularly (twice a year)

Parent Responsibilities

• Praise, encourage, and praise. Never use practicing as a punishment!
• Review your son/daughter’s Better Practice assignments. Look at the practice summary and reports.
• Take part in working out a daily/weekly practice schedule, which blends with the routine at home.
• Attend lessons once a month for the first year of lessons with Barbara, or until the student is ready to remember the technique aspects of a new teacher.
• Create a quiet atmosphere conducive to practicing (no TV or other distractions in the same room where the piano is located).
• Cheer the effort and not only achievement.
• Attend performances.
• Encourage performing in front of others when the student feels ready (not forced) to perform.

Teacher Responsibilities

I do not have enough space to list everything, but here are a few things that I feel are important as the teacher of your son or daughter:

• Provide a positive atmosphere for learning
• Show respect for each student’s feelings and concerns
• Allow students to select music for performances (within parameters)
• Teach students the discipline of practicing and different practice techniques
• Demonstrate and expect the correct playing technique
• Select appropriate repertoire and sequence skills
• Provide performance opportunities
• Be an active part of the “piano community”
• Maintain skills and keep current on the latest pedagogy by attending workshops and conferences
• Maintain professional associations.

Performances/Recitals

• Families should plan to stay for the entire recital.
• Help “little ones” be attentive and quiet instead of distracting to the performers and audience members.
• Except for recording or photography, keep the recital a “No Electronics” Zone. Playing games on a tablet or iPhone distracts audience members and performers during the recital.
• Students may want to practice performing in the outfit and shoes they plan to wear.

“Best dress” is always the appropriate attire.

Student Development Programs

Royal Conservatory of Music Assessments

• I prepare students to be evaluated by a senior examiner from the RCM (www.rcmusic.com). This program has been in existence for over 130 years and keeps up-to-date with technology, ear training, and repertoire in many instruments. 
• The RCM provides a national standard with 12 levels (Prep A, B, Levels 1-10). 
• Assessments are taken during May/June and November.
• Practical assessments (performance, ear training, technique) do not include theory. Students scoring 90 or higher will be invited to perform in a Celebration of Excellence for the region. This celebration takes place at the University of Utah (Dumke Recital Hall, or Libby Gardner Concert Hall). Carnegie Hall is the venue for other regions. The highest scores in the country for each level will also be invited to perform there!
• Assessment fees range from $60-$240.  Prep A & B = $59; Level 1 = $99; Level 2 = $109; Level 3 = $139; Level 4 = $145; Level 5 = $155; Level 6 = $165; Level 7 = $179; Level 8 = $215; Level 9 = $240; Level 10 has three divisions.

National Federation of Music Clubs (NFMC or Federation)

• Since 1898, this organization promotes American composers and music.
• Music is divided into classes for each festival (Solo: Primary 1-4, Elementary 1-4, Moderately Difficult, etc.). Concerto festival (held in the fall) is also an option for students to gain ensemble experience and play longer pieces. Points can be combined in 9th grade for the larger gold cups (75 pt and 90 pt)
• Solo Festival:  Two pieces are performed by memory in front of 2-3 local judges. The required piece is selected from the NFMC Bulletin (Primary, Elementary, Medium, Moderately Difficult, etc.). The choice piece is selected by the teacher/student of comparable level and which meets composer and pedagogical requirements.
• Students have the option to participate in the solo festival (or concerto festival).
• Ratings are given (Superior = 5, Excellent = 4, etc.) and points are earned during each festival event.
• For every 15 points, students earn a trophy (gold cup). Trophies increase in height with every 15 points earned (1st gold cup = 6 inches, 2nd gold cup = 8 inches, etc.).
• Although points and ratings are awarded, judging is subjective. Participation is intended as a learning experience so that students have a variety of performing experiences, a chance to hear students from other studios (and of a similar level) perform, and written feedback on their playing.
• Festivals are not competitions, however, a chapter honors recital showcases two students from each studio for a bonus performance.
• Registration fees are approximately $15-20 (due in September for the concerto festival and November for the solo festival). The solo festival usually takes place in the spring (March/April).
• The teacher reserves the right to allow students to perform or not perform in this festival if the performance is not ready.

Keyboard Gymnastics

• This in-house program includes “events” (theory, technic, performance, sight-reading, creative project, ear training) in which students strive to get a 10.0 (similar to the Olympics).
• The incentive is for the awards. Students receive different colored ribbons for their achievements in each event:
  • Blue ribbon for scores 9.0-10.0
  • Red ribbon for 8.0-8.9
  • White ribbon for 7.0-7.9
• All-around medals (gold, silver, and bronze) are given to the top three combined scores. If there is a small number of students participating, only a gold medal will be given.
• Registration for Keyboard Gymnastics is included in the fall registration fee and covers the cost of awards and supplies.
• An awards ceremony/recital concludes Keyboard Gymnastics for that year and celebrates the accomplishments of the students. Students submit a short bio for the printed program.

UMTA Performance Evaluations

• Students have the opportunity to be evaluated by judges at the annual Fall Performance Evaluations for Utah Music Teachers Association (UMTA).
• The Davis Chapter of UMTA usually holds this event during September/October.
• Students who perform well are selected to perform at the Honors Recitals during UMTA’s State Conference (October/November).
• A registration fee is involved (approx. $15) (September due date).

Salt Lake Piano Competition

• During this annual May/June event, performers participate in competition recitals where judges select winners at the end of each recital.
• Judges give scores and written feedback.
• This experience adds another level to performance compared to an evaluation or festival.
• A registration fee (approx. $20) is due in April/May.