Music Lessons

Remarkable Conference Experience

Saturday, January 30th, 2010

Potluck Creative Arts Lesson LineSimply Music

(For my students/parents, this past week’s lesson was all about my recent conference experience. I’ve been sending the below message out by email to a number of other people, and it seemed worth sharing more broadly, so that’s all I’m doing here in the newsletter this month!)

Earlier this week, I returned from the annual Simply Music teachers’ conference in San Jose, California. It was my first such experience, and in so many ways it made me realize that the Simply Music piano method is even more remarkable than I’d already known it to be. From the ways it teaches different aspects of music to how it fosters the very learning process itself, it is just extraordinary how well is cultivates music — and personal growth — for people.

Indeed, one of the highlights of the conference was a recital put on by the two very experienced teachers who planned the conference. The founder of Simply Music said afterward that it was like nothing he’d ever seen. The morning afterward, we all learned that more than half of the students performing there had special needs. Autism. Asperger syndrome. Developmental delays. One student had just two fingers on her right hand, and another was blind and mostly deaf. Except for the blind and deaf girl who’d had to be led to the piano, we would not have known anything about the rest, other than that these were students with command over their pieces — including many very sophisticated pieces – and comfort performing in front of a very large audience. It solidified for me that if this is what’s possible for them, then truly so much is possible for everyone using this method. And by offering it as I do online in addition to in person, it’s possible for even more people than ever before.

I teach a truly remarkable piano learning method, and I’m proud to do it. It not only brings music to anyone who wants it — it changes lives. I just wanted to share that with you.

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Winter/Spring 2010 Simply Music Beginner Piano Workshops through Rhinebeck, Red Hook and SUNY Ulster Continuing Education

Monday, January 4th, 2010

Potluck Creative Arts proudly announces the offering of Simply Music Beginner Piano Workshops through several area Continuing Education programs in Winter/Spring 2010 — a unique opportunity to experience the beginner piano workshop at a dramatically reduced cost!

No experience or instrument necessary! Simply Music is a revolutionary, Australian-developed piano learning method that offers a breakthrough in music education. This remarkable approach has students of all ages playing great-sounding contemporary, classical, gospel, blues and accompaniment pieces — immediately — from their very first lessons. Led by New York’s only Accredited Simply Music Teacher, you’ll learn how to play pieces in each of these styles, as well as variations and improvisation!

Choose from these offerings:

Rhinebeck Continuing Education
Day/Time: Mondays 7:30 p.m.-8:30 p.m.
Dates: 1/25/2010-3/22/2010 (8 lessons — no class 2/15/2010)
Learn more and register through Rhinebeck Central School District’s Continuing Education Program.

Red Hook Continuing Education
Day/Time: Thursdays 7:00 p.m.-8:00 p.m.
Dates: 4/8/2010-6/3/2010 (8 lessons — no class 5/20/2010)
Learn more and register through Continuing Education at the Red Hook Central School District.

SUNY Ulster Continuing & Professional Education
Day/Time: Fridays 7:00 p.m.-8:00 p.m.
Dates: 4/9/2010-5/28/2010 (8 lessons)
Learn more and register through Continuing & Professional Education at SUNY Ulster — also, attend the program’s Open House, January 14, 2010, 4:00 p.m.-7:00 p.m., to meet me and learn more.

Learn more about Simply Music piano lessons and beginner piano workshops.

Special New Year’s Piano Lesson Offer

Monday, December 21st, 2009

Joy. Accomplishment. Self-expression. Confidence. Relaxation. Learning. Connection.

Make these New Year’s resolutions — and make them happen by taking Simply Music piano lessons with me!

These and so many other amazing benefits of learning to play the piano add up to make it, quite simply, one of the best things you can ever do for yourself.

And to help make it easy for you to begin lessons with the New Year, I’d like to offer you a special discount that I normally give only to people attending an hour-long introductory session:

Submit your enrollment materials by January 3 with a two-month commitment and you’ll receive two free lessons.

After seven years teaching traditional methods, I couldn’t be happier that I switched to Simply Music over a year ago. Indeed, my students, their families and I have been so thrilled with the results, I only wish I’d learned about Simply Music years earlier. When you start experiencing what is possible through these lessons, you’ll also be glad that you decided to act now to get started sooner.

Visit http://potluckcreativearts.com/lessons/enroll/ where you’ll see complete instructions on how to enroll. I would let you know the total amount of your first payment based on your unique situation. If you have questions, feel free to be in touch.

I look forward to being your piano teacher!

Happy Holidays :)

Even Though It Feels Silly

Friday, December 18th, 2009

Potluck Creative Arts Lesson LineSimply Music

I thought a nice way to bring the year to a close would be with some stuff that would be both enlightening and fun. Trust me, read on, you’re going to want to see this…!

In life, we can sometimes feel silly doing certain things that are asked of us. That’s certainly true in piano lessons, and especially Simply Music lessons. Not everyone feels comfortable singing, even by themselves much less in front of others. Sometimes there’s resistance to speaking our instructions out loud, touching our fingers, using the practice pad. Or even using the DVD. Or even just playing slowly. Maybe you think you just don’t need to do it, that you can get by without it. Maybe you feel silly or embarrassed doing some of these things.

While these feelings are understandable, everything that’s asked of you is asked of you for a good reason. These kinds of things will benefit you. They will help you develop your skills as strongly as possible. Just as it’s important to practice even when you’re not in the mood to, it’s important to do these things even though you may feel silly doing them.

And so, to put my money where my mouth is, let me show you something I did where I felt terribly silly but it was worth it.

Here’s me doing ballet for laughs long ago in the Cole Porter musical Anything Goes, produced by the Masque and Mime Society of Roy C. Ketcham High School.

I played Moonface Martin, a gangster disguised as a priest and trying to make a getaway on a transatlantic cruise ship. As part of the “all is lost” section of the show, another character and I end up in the brig. There, Moonface sings the song “Be Like the Bluebird” to cheer up his cellmate.

Because of the song’s tone, I’d come up with the idea of doing a ballet to it, for comic effect. The choreographer asked me if I was really up for it, and I said absolutely, full fledged, real ballet, the more authentic, the better for laughs. And she came back with one. And I learned it. And I did it. And it was quite a hoot.

Did I feel silly doing it? Sure. But overcoming that kind of hesitation for something worthwhile can be the beginning of building new levels of courage for taking things on in life.

And just in case you’re thinking to yourself, “Yeah, well, that’s fine and dandy, but if something more than a couple of decades old is all you’ve got, should I really trust you on this?” To that, I say, here’s something not yet two weeks old:

That’s me dancing with the Wild Women as part of Rhinebeck’s Sinterklaas winter celebration.

Yes, you heard me right, I was a Wild Woman.

I take an aerobic dance class at my gym, and the instructor organizes the Wild Women for Sinterklaas. Back in the Summer, the class started learning the dance for the celebration, to the tune of, of all things, Zumbalicious. Nobody has to, but anyone in the class who wants to can participate in Sinterklass, dancing in the parade and then afterward on the mainstage.

I’m one of the few males to take the class, which is fine, and even though the group is supposed to be Wild Women, I was encouraged to join them. So I did, as the one and only bearded lady among the Wild Women at Sinterklaas.

As if that weren’t enough, while dancing on the mainstage, the wild Grumpus men overtook and ravaged the Wild Women, escorting us offstage — and I was the first to succumb, as you can see here!

Did I feel silly doing it? Sure. But sometimes that just comes along with making things happen in your life!

So the next time you hesitate to do something because you think you’ll feel silly, think twice. Hesitate over that hesitation. There may be something worthwhile lying on the other side.

And when it comes to those parts of your piano practice that might make you feel silly, nobody even needs to witness it but you and maybe a few family members and lesson mates. You can do it. I know you can. If I can dress up as a gangster priest and sing and dance a ballet, and if I can put on a goofy costume and parade through slush while Latin-dancing as a Wild Woman, surely you can do piano practice activities like singing along to what you’re playing. After all, as the song says about the bluebird, “He knows from his upbringing what singing can do.”

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Holiday Season Accompaniments

Friday, November 6th, 2009

Potluck Creative Arts Lesson LineSimply Music

With the year winding down, some recent happenings made me think it would be a good idea to share some very simple accompaniment versions of some holiday songs.

About a week ago, Simply Music announced a newly revamped version of their accompaniments program as well as a brand new selection of creatively arranged Christmas songs called A White and Blue Christmas. The former is appropriate for students who’ve gotten at least as far as Star Spangled Banner in Foundation 2 and are somewhat into the Accompaniment 1 program, while the latter is for students even farther into lessons.

Then, last night, I taught Amazing Grace as part of a beginner piano workshop I’m giving through the local continuing education program. In talking about the possibilities opened up by learning how to perform accompaniment, I mentioned how great it is for sing-alongs, including for the holidays. Several of my students then expressed interest in learning some songs in time for this year’s holiday season.

I recalled from last year how some Simply Music teachers were sharing simplified accompaniment versions of various holiday songs. So while the new Simply Music programs should be excellent supplementary material for students who are ready for them, I thought it would be nice to share some simpler holiday season accompaniments also, doable for any students who have mastered even just Honey Dew and Amazing Grace from Foundation 1. Here they are:

Holiday Season Accompaniments

Because more and more accompaniments may be worth sharing over time, accompaniments will be collected on a special page called Accompaniments, where they can’t get lost in the chronologically ordered depths of the Lesson Line. Take a look at that page now for instructions on how to use the Holiday Season Accompaniments “cheat sheet” — and enjoy learning some new pieces in time for the holidays this year!

Why We Do It — The Profound Benefits of Learning to Play the Piano

Friday, October 9th, 2009

Occasionally, and almost certainly more often rather than less, it’s helpful to remind ourselves of just what it is we can get out of learning to play the piano. The benefits are truly profound, and far more than what we may often think about. Keeping them in mind helps us keep our eye on the ball — and our fingers on the keyboard with an effective practice routine.

In our Foundation Session at or near the beginning of your lessons, we talked about the positive impacts that music can make in your life. There are intellectual impacts, like increased capacity to reason and process information. There are social benefits, from learning piano in a group as some do to the many occasions when you can bring people together through making music. Emotional and psychological benefits range from feeling good about yourself because you’re good at something, to the opportunity to express yourself through music. We even noted spiritual benefits, since musicality is inside all of us and a core part of what it means to be human, and we can connect with that deeply when we learn to play an instrument. We also talked in that Foundation Session about the four goals of Simply Music, which you can read on this page about the Simply Music method. All of this sounded pretty good.

To leave it at that, though, isn’t at all sufficient, for two reasons. First, it’s often easy to lose sight of why we take lessons, why we bother to learn to play. When things are going well, we may not need to have that at the forefront of our thinking. But when we’re in a plateau or a valley, feeling unpleasant about lessons or practice, there’s nothing better at helping us forward than reconnecting with why we got involved in lessons in the first place. By taking our focus off of how much we’re disliking the “what” of that moment in our lesson experience, we can get in touch again with the “why,” with what we’re working toward, with what lessons really offer us. That’s what can keep us going and help us make a priority of practice even when we otherwise might not feel like doing it.

The other reason that what we said earlier wasn’t sufficient is that it just scratches the surface. When we look deeper, here’s what we see:

Playing music can make you feel good. Happy. Relaxed. Free. Joyful. Entertained. Transported. Connected. Healed. And when you play music, it can cause others to feel all these things as well.

It’s an opportunity to communicate and get in touch with yourself. To develop your abilities and feel a sense of confidence, accomplishment, achievement, self-esteem. To release your emotions, inspire and express your creativity, and learn more about who you really are.

Through playing music, you can lose yourself in the moment, experiencing a very different and powerful state of mind compared to what we normally know during the rest of the day. Going beyond yourself, you may even experience music as a form of prayer, connecting you to a higher power and a giving you a sense of oneness with yourself and all things.

Music is also an opportunity for oneness with others, for unity through community. You can share with others, you can learn from and teach others. It can create companionship with others, even as it music itself becomes your own companion. Music can provide therapy for yourself and others alike.

When you play music, you can have fun and feel playful, and yet it can also be a constant source of new and exciting challenges. If you need an escape or distraction, music can provide it, and in a way that’s substantially healthier than many other escapes and distractions. It can involve not just the fingers and feet but your whole body, all contributing to an increasing awareness of your own physicality. Music can even earn you an income.

Music is also, and importantly, an opportunity to learn from mistakes — and an opportunity to learn about mistakes and how to handle them constructively. It is an opportunity to learn about learning itself and to remain open to life, in a constant state of exploration.

Ask adults who play music how important it is to them. Almost across the board, they will not say that it is important, or even very important. They will usually say that it’s right up there with the handful of the most important things in their life. Spouse, children, livelihood, their relationship with their higher power. Music makes it onto that list. No wonder, since music is at the core of what it means to be human.

When you take on music, it will be with you through your greatest triumphs and tragedies, offering you the deepest levels of experience and expression. It will never get old or become obsolete. It will be there for you, always. And it will make a difference in more areas of your life than you can currently imagine, and in more ways than you could be aware of right now.

Learning how to play music is quite simply one of the best things you can ever do for yourself.

This is why it’s worthwhile. This is why it’s worth making a priority. Stick with practice even when for the moment you feel like you’d rather not. Seeing it through maximizes the likelihood of retaining music as a lifelong companion, providing the path to everything described here.

Isn’t that worth following some instructions for a few minutes a day, even when you don’t want to?

Some final words, especially for parents or other adult life coaches of students who are children, but worthwhile even for adult students who may be in a position to contribute to the lives of others:

As mentioned in an earlier piece on the importance of the life coach, these pieces tend to be written as if to the student but are also crucial for you in helping support the young students in your charge. Just as it’s worth reminding ourselves regularly of the “why” to help keep things on track, there is something particular for you that goes along with this. It is equally worth reminding yourself of on a regular basis, and right now, having just looked at what lies ahead, is an ideal time for such a reminder.

Every bit of what we just saw, that’s what’s possible for your children. And when your children become adults and they have all of this in their lives, it won’t be the teacher your children thank most. Not the teacher who your children saw for a few minutes a week and helped make sure that the learning to be done was clear, but you, the parent who helped them see it all through and make the learning happen each and every day. Not the teacher who opened the gate and pointed the way, but the parent who actually held their hand and walked them through the gate because they were just kids who weren’t ready to walk that path fully on their own. Your children will grow up knowing how to walk those paths themselves because you taught them how. They will be the ones who have all the rewards, and you will be the one your children will thank for it.

Isn’t that worth helping your children follow some instructions for a few minutes a day, even when they don’t want to, and even when you don’t want to?

Catching Up After Falling Behind

Friday, September 11th, 2009

Potluck Creative Arts Lesson LineSimply Music

The Summer comes to a close, along with its vacations and other scheduling chaos that can make piano progress a bit erratic for many students. We’ve just completed a week of repertoire reviews, looking for the parts of your songs that may need a bit of work in order to strengthen the repertoire. As many of us get back into the swing of a more stable routine, it seems a good time to talk a bit about how to catch things back up after they’ve fallen behind.

Before getting into the details on how to strengthen the weak spots in your repertoire, just as we took the opportunity to note this during our repertoire reviews, it’s worth remembering just why it’s important to have your repertoire in good shape. Take another quick look at the “Why Build a Repertoire” section at the beginning of the Building a Repertoire piece. That section links to a paragraph in another earlier piece, providing a bit more detail about the foundation a repertoire provides for the more advanced material you’ll get to later in your lessons.

What It Means to Fall Behind

You’re on nobody’s schedule but your own. Your progress is supposed to go at a pace that’s right for you. If that’s the case, then what can it even mean to talk about falling behind? It can only mean one of two things — falling behind where you would be if you were doing your best, or, only possible in shared lessons, falling behind classmates. Either way, catching up doesn’t always mean doing more — sometimes it can mean just the opposite.

If you’ve forgotten some songs and/or developed trouble spots in others, the first thing to do is ask yourself if you’ve been practicing according to recommendation. If you have, it’s time to slow down — tell your teacher! Likewise, slowing down can take care of things even if you haven’t been able to practice sufficiently well, either due to a prolonged vacation, sickness or other absence, or perhaps just a lack of diligence. As a private student, your pace can always be tailored for you personally. Taking shared lessons, your group may be able to slow down a bit, perhaps you can find a different group that moves at a more appropriate pace for you, or maybe you could even switch to a private situation.

When your difficulties come from not practicing well enough, though, other options may serve you better. Maybe an absence simply caused you to miss songs in a shared lesson — they don’t have problems, you just haven’t learned them yet. Perhaps a shared lesson student really wants to stay with a particular group. Shared or private, you could simply be motivated to continue forward with new material rather than focusing exclusively on your repertoire issues. If any of these things are true for you, it’s time to develop a plan to get your older songs where you need them.

How to Catch Up

The first thing to do is play through your entire playlist. Find out what you remember and what you’ve forgotten. Any song that has been forgotten completely, forgotten partially or has some other kind of issue is a song that will need to be turned back into a current project. If you have relatively few songs to catch up and relatively few other current projects, you could very well just turn those problematic songs back into current projects with a pencil dot in the margin as usual, and keep a normal practice routine.

When your regular current projects plus all your catchup songs would result in an overwhelming number of current projects, though, it’s best to take an incremental approach. Just like learning a song or building a repertoire in the first place, significant catchup is a process best done a little at a time. Instead of marking the problem songs with a single pencil dot, mark them with two pencil dots. These are now not current projects but catchup projects, all part of the overall catchup process you’re undertaking.

As you regularly play your repertoire, the songs with no dots, be sure to look over the catchup projects as well. Play those parts of the catchup projects you may still remember accurately. The more you do this, the more you keep your catchup work to a minimum instead of losing more material. With that continuing daily as usual for your repertoire practice, along with your regular daily practice of recent current projects, you’ll need a strategy for gradually getting back the catchup projects.

Start by choosing the one or two catchup projects that you believe will be the easiest and quickest to get back. Erase a dot for each of them, turning them into current projects with the usual single dot. Add an extra 5-10 minutes per day to your practice routine to accommodate these songs. When you practice them, go back to the Student Home Materials or other original instructions, working on these songs as if for the first time. Make no compromises — that’s what got you behind in the first place, and it will just continue to work against you. Get comfortable with each step in relearning the song, strictly according to the instructions, before moving onto each next step. It may be frustrating, but it’s the fastest and most powerful way to get where you need to go.

Once you get one of the songs back, you will be able to erase the current project dot as usual, returning the song to your repertoire. Then, keep going through the catchup projects so that you’re always working on one or two at a time, always the ones that you think will be the next easiest to retrieve, repeating the above process. Eventually, you will have caught up, having only regular current projects and repertoire songs on your playlist. At this point and this point only, you may eliminate the extra 5-10 minutes of daily practice time.

By choosing the easiest catchup projects to work on at any given time, you’ll see meaningful progress quickly, boosting your confidence and re-inspiring you. Working on only one or two at a time further ensures that you won’t feel burdened or discouraged by having too much work at once, even if your catchup list is long.

You may even find as you go through catchup projects that some of them may return very quickly on their own, as if you’d never really forgotten them in the first place. Something may just click, and a song can come back. If this doesn’t happen, don’t worry, just follow the rest of the process diligently, and it will see you through.

It’s crucial to remember, though, that catchup is a situation you don’t want to be in. If you’re in it, follow this strategy to work things through effectively and efficiently. But be aware that having a good strategy for handling this situation is not a substitute for developing good practice habits in the first place. The more you are putting into practice on a regular basis the advice from the first nine “primer” pieces written for the Lesson Line, the stronger your repertoire will stay and the less likely you will be to fall behind and need to play catchup.

First Piano Potluck a Success

Wednesday, September 9th, 2009

Last week, on Thursday, September 3, we held our first Piano Potluck, and it was happy success.

What the heck is a piano potluck!? The potluck part is easy. Everyone brought a dish, and we enjoyed some tasty food together. For the piano part, I had a keyboard set up, and throughout the potluck a number of my piano students performed favorite songs they’ve been learning in lessons. The students only played if they wanted to and what they wanted to.

So it was like a recital, but very informal, and with tasty food :)

Most of my students were there, and all of them who were there played — some played quite a lot! We even had guest performances from a few students’ parents and friends.

Thanks to all who attended and all who performed for contributing to a fun evening. To those who couldn’t attend, there will be other piano potlucks in the future, and we hope to see you there!

Using the Lesson Line

Tuesday, August 4th, 2009

Potluck Creative Arts Lesson LineSimply Music

Here are some references and new developments that will hopefully help make it much easier for you to use the Lesson Line to get as much as possible out of your lessons.

The content of the Lesson Line is just as much a part of your lessons as anything delivered in studio, providing important advice to help make your piano lesson experience as successful as possible. The Lesson Line name may seem a little funny, because, when it comes to that information, there’s definitely not “less online” — there’s obviously more than if we were covering everything in class! But that’s exactly what allows us to spend as much class time as possible working on music projects, making the most of the lessons you’re paying for.

At the same time, what happens here online can perhaps sometimes seem a bit disconnected from what goes on in class, and it is certainly important that we keep conversations about these topics alive. The priority is serving students’ success. These things should help make it as easy as possible for the Lesson Line do just that.

In-Class Overview

From now on, at your lesson immediately following the publication of a new Lesson Line piece, we’ll spend a few minutes going over what the new piece is about.

For anyone who has already read the piece online and has questions, this is a great time to ask. Remember, though, that anyone is welcome and encouraged to ask questions about any topic at any lesson, so don’t imagine that it’s ever too late to bring up something covered previously through the Lesson Line, during a lesson, etc.

Studio Binder

There is now a Lesson Line binder in the studio. It contains a printed copy of each Lesson Line piece, with the most recent always added right at the front for easy access. Whenever you have a few extra minutes before or after class, you’re welcome to pick up the binder to read any articles you wish, new or old.

Email Announcements

Each time a new Lesson Line piece is published, you receive an email announcement with an excerpt as well as links to the complete piece at the Potluck Creative Arts website.

The subject line of those emails are now simplified, saying just “Lesson Line - ” followed by the article’s title. Hopefully this will make the emails as easy as possible to recognize in your inbox.

As always, click in the email on the article title or the “Read more…” link to open the whole article on the web.

If you prefer to read offline, feel free to print your own copy for your personal reference at your convenience. You’re welcome to do this with any Lesson Line pieces you find through any of the channels below as well.

Web Archive

Most pieces written for the Lesson Line are timeless, relevant indefinitely beyond the publication date. To help make them easily accessible for you, you can find the complete Lesson Line archive at the Potluck Creative Arts website at:

http://potluckcreativearts.com/content/lessons/line/

And now, there’s an even easier-to-remember way to get there. Just browse to:

http://tinyurl.com/pcalessonline

or even just

http://tinyurl.com/lessonline

and you’ll be redirected straight to the archive.

Of course, you can always bookmark the archive page, in which case it’s even easier to get to, just a click away.

The archive has always been, like the hardcopy binder, sorted chronologically backwards, with the most recent pieces at top. What’s new as of this month is that the archive has been redesigned to be more of a table of contents, showing only brief excerpts rather than the complete articles. This makes it much easier to browse past contents/titles to find topics of interest.

Primer Articles — Email and Archive

Together, the first nine Lesson Line pieces ever written form a sort of primer for succeeding with Simply Music piano lessons. Because of the foundational value of these articles, you receive them in their entirety via email over the few weeks after you first subscribe to the Lesson Line. This gives you direct access to these important articles without you having to search for them in the archive. Save them if you like, or know that you can always find them again in the archive. Either way, you’re encouraged to read them as they arrive, to get you off to as solid a start as possible.

After these nine primer articles, you generally do not receive complete articles by email anymore, usually only the brief announcements when new pieces are published.

For easy reference, here are links to the nine primer articles, in order from first to last:

Subscribe via Email or RSS

If you are a Potluck Creative Arts student/parent enrolled in ongoing lessons, at least one adult in your household must be subscribed to the Lesson Line via email. But anyone is welcome to subscribe via email or RSS, and it’s especially encouraged of all members of a household who are involved in lessons — the students themselves as well as any parents, guardians or others supporting any students’ progress.

In addition to the form at the bottom of the enrollment page, you will find at the bottom of every Lesson Line web post, including this one immediately below, a form to subscribe via email as well as a link to the RSS feed.

Completing Evaluation Forms

Saturday, July 11th, 2009

Potluck Creative Arts Lesson LineSimply Music

Though you will only finish an individual Level or Special Program once in a while, that very fact makes each program’s Evaluation Form all the more important. While your teacher helps assess your progress at each lesson, those occasional Evaluation Forms are a key opportunity to assess your teacher’s progress. Your honest feedback is extremely important. It’s the only way your teacher gets to hear the truth about his or her abilities and effectiveness, and the truth is the most powerful tool to help your teacher honor both the responsibilities he or she has and the promises he or she makes. Through this, your teacher can become a better teacher — and a better person.

Due to Simply Music guidelines, Evaluation Forms must be fully and accurately completed. Just as with learning songs, then, it’s most effective to “control the events” and make sure that an Evaluation is completed properly the first time, so that you and your teacher can avoid spending time correcting mistakes. Your teacher will make an effort to simplify the process for you each time you are about to complete an evaluation form.

Even so, the more you understand how they are to be filled out, the better. Let’s take a look, then, at how to complete an Evaluation for a Foundation program. Forms for Special Programs may have some slightly different needs compared to what is mentioned here, but most of these guidelines will apply, and you can always ask your teacher for any clarification you may need for any Evaluation Form.

For numerous reasons, it is crucial that students themselves complete the forms in their entirety, though younger students certainly can do this with the help of a parent / life coach. The parent/coach should help only to the extent that either the student is unable to legibly fill something in on their own or the parent/coach wishes to add their own feedback about the program.

There are a few items that you could fill in upon beginning a new program, giving you a bit less to do when it’s time to complete the form at the end. If you haven’t done this yet with the programs you’re now working on, feel free to do so.

  • Teacher’s Name: As appropriate.
  • Student’s Name: As appropriate.
  • Date Started: The date that the student actually began lessons, i.e., the date of your very first lesson (often but not always the Foundation Session).

While you are going through a program, refer to its Evaluation Form from time to time. Consider the questions it asks, and think about whether your teacher is doing his or her job in all of the areas mentioned. Wait, though, to fill in anything until the program is completed, since it’s your thoughts and feelings at that time that the form should reflect for posterity. Complete the rest of the form as follows.

  • ID: Leave this blank — your teacher will take care of this.
  • Age: Student’s age at the time the Evaluation is completed.
  • Email address: Student’s/parent’s/coach’s current email address.
  • No. of Lessons: The exact number of lessons that the student has had as of the completion of the Level being evaluated, i.e., the number of the lesson in which your teacher reviews the last assignment for that Level.
  • Level: The number of the Level in which appears the piece you’ve presented for review in your most recent lesson.
  • Music Selections: The student should individually list all pieces learned while going through the Level being evaluated. It is both important and valuable for the student to experience writing out the names of every song learned in any given level, especially if the student’s Playlist is managed via computer and not fully re-written each month. It is also extremely valuable information for the Simply Music organization to see, since the material covered over the course of a given Level can vary tremendously not only from teacher to teacher but even among a teacher’s own student body.
    • Each individual, basic Foundation piece should be listed, along with any other titles added to the student’s Playlist between the start of the Level being evaluated and the lesson prior to the beginning of the next Level. Variations, Arrangements, Compositions, Accompaniments, and any other items the student tracks on the Playlist can be included, as long as they were learned during the course of the Level in question.
    • Leave out all pieces added to the Playlist at any other times, i.e., either before the Level in question was started, or after the subsequent Level was started.
    • If you have come to combine pieces as part of your unique practice routine and consolidating your Playlist, you may include them, as long as it is not in lieu of the listing the given Level’s basic Foundation pieces individually.
  • No. in Playlist: The exact number of pieces in the entire Playlist at the time the Evaluation is completed.
  • Remaining Questions: Answer all as honestly as you can and as thoroughly as you like.
  • Signature and Date: The evaluation must be signed and dated by the student and/or parent.

The completed Evaluation Form for a given Level is due at the lesson after the one in which your teacher reviews the last assignment for that Level, i.e., it should be turned in at the lesson whose number is one more than the No. of Lessons you’re including on the Evaluation Form. Assuming you do this on time, the form will be as simple as possible to complete.

For example, your 25th lesson takes place on September 1, 2009. There, you present your final Level 1 assignment and begin your first Level 2 piece. The No. of Lessons is 25 for your Level 1 Evaluation Form. If you complete the form prior to your September 8 lesson, i.e., your 26th lesson, then enter 1 for Level, turn in your form, and all will be set.

If you are unable to complete your Evaluation Form on time, there is a bit more for you to think about and write, as follows. Using the same example situation as above, if you wait until after the September 8 lesson to complete the form, then:

  • No. of Lessons remains 25, but because of the delay in completing the form, please add “as of 9/1/09″ beside this number. This will make clear how much time passed between your Date Started and that 25th lesson by which you’d completed the Musical Selections you’re including on the form.
  • For Level, enter 2, because by now you would have presented a Level 2 song for review in your most recent lesson. (Hopefully you won’t wait until Level 3 or later to complete a Level 1 Evaluation, but if you did, then you would write that number here!)
  • For No. in Playlist, you may provide either the complete number at the time the Evaluation is completed, or you can indicate the smaller number that was the case as of September 1, in which case you’d add the “as of 9/1/09″ note beside this number as well for clarity.

You can see, though, that it’s to your advantage to simply complete the form within the first week after completing a program, turning it in on time at the subsequent lesson.

Hopefully these guidelines will help you effectively complete your Evaluation Forms. Your teacher will truly appreciate being able to review your feedback.

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