I never intended to be a piano teacher. I worked for ten years in art and academic publishing after leaving university and I continued to freelance in this sector when I stopped full-time work to have my son. But as my son started to grow up and become more independent, I began to consider a change of direction but it had to be one which could accommodate the school day and looking after my son during the school holidays. One day, during the chat that takes places between mums in the school playground while they wait to collect their children, a friend asked me if I might teach her daughter to play the piano. “But I’m not a piano teacher!” I said. The friend suggested that I try piano lessons with her daughter “as an experiment, to see if you both like it. Rosie can be your trial student“. And so in September 2006, I started teaching Rosie, and quickly acquired more students who had heard about me via Rosie’s mum.
Chopin: Nocturne in C# minor, op post
I had never been taught how to teach and had no clear “method” at the time, only that I was determined to make piano lessons interesting and fun for the children, the absolute opposite of my childhood lessons which had seemed dull and interminable and driven by an exam treadmill. I was pretty sure I could articulate this in a way that would appeal to children. My teaching studio grew rapidly and by the end of the first year I had nearly 20 students, most of whom had come to me via my son’s primary school. People would come up to me in the playground and say “you’re the piano teacher, aren’t you?” And indeed by about 18 months into the job, I felt qualified to call myself “the piano teacher”.
I found the first couple of years quite tough. At that time, when I was still a fledgling piano teacher, I took anyone. I didn’t interview prospective students or their parents, because I knew most of them via the primary school anyway. But after a couple of instances where I and the child or parent simply did not get on, I grew more discerning and careful about whom I took on. And after a parent persistently messed me around over dates and times of lessons, cancelling them at short notice and demanding that I reschedule, I introduced a formal contract which put everyone on an equal footing and enabled me to run the studio in a more formal/businesslike way.
And that perhaps was the first most important lesson I learnt about running my own teaching studio – that one needs to formalise arrangements to ensure people treat you with the respect due to a professional person.
A few years ago, by which time my studio had grown to 25 students and I had two performance diplomas successfully under my belt, I decided to make some significant changes to the way I organised my teaching: I “let go” the students who were simply coasting, not practising and not really taking their piano lessons particularly seriously; I rebranded myself as a serious teacher of classical music (no more Adele songs!) who carefully selects students via an interview and trial lesson; and I put my fees up. Within weeks of making these changes, I had more enquiries than ever and I began to enjoy real job satisfaction too.
Bartok: Mikrokosmos, Book 5, BB 105 – No. 139. Jack-in-the-Box
Second lesson: as a freelancer, don’t be afraid of making changes to your working life to suit you and which gives you job satisfaction. A happy teacher is more likely to be a successful teacher.
In terms of the actual teaching, I based much of it on my own very positive experiences with my music teacher at secondary school, rather than on my childhood and teenage private piano lessons. My music teacher was endlessly inventive and enthusiastic and it was his enthusiasm that, more than anything else, I tried to incorporate into my teaching. I felt – rightly – that children and young people, adults too, would be enthused and excited by music if I was enthused by it, and I made sure everyone learnt and played music which they enjoyed, rather than which might be “good for them”. When, in 2008, I started having lessons myself again after a break of nearly 25 years, I was able to distil what I was learning into easily understandable nuggets for my students and I quickly saw the benefit of my own lessons in my students’ playing as well as my own. In addition, I started attending courses and workshops to enhance my professional development, and began to connect with more piano teachers too.
Grovlez: Petite Litanies de Jesus
Third lesson: good teachers never stop learning themselves
Now, twelve years on my teaching style and approach has settled into one which is relaxed and flexible. There is no “one size fits all” in teaching because all students, children or adults, are individuals and deserve to be treated as such. I know each student’s strengths and weaknesses, what music they particularly enjoy, and how much or little they like to be pushed by teacher. Some want to take exams, others are content to learn music which they enjoy playing. I’ve always been a natural communicator and it’s not in my nature to be overly didactic: I want to empower students by giving them the tools, and the confidence, which encourages self-discovery and independent learning. I have taught a couple of very musical and talented students, and supporting them with issues such as perfectionism, performance anxiety and the psychology of performance presented interesting challenges and force me to think outside the box as their teacher and confront my own issues in these areas.
An inquisitive student is likely to learn more, and more quickly. I encourage my students to find their own individual voice in their music making and to use their developing musical knowledge to help them make judgements about aspects such as interpretation and presentation. I don’t use a set “method” or particular range of tutor books. My teaching is instinctive, responding to each student’s needs and wishes rather than imposing my own opinion and way of doing things on them, and I encourage excellence which is achievable, rather than perfection, which is not. My own regular studies with two master teachers, in addition to encounters with other renowned teachers and pianists via courses and masterclasses, has undoubtedly informed my teaching, and will continue to do so.
Shostakovich: March from Three Fantastic Dances
Teaching has taught me far more than I ever would have imagined about being a musician as I constantly refocus and re-examine what I do and how I approach my own music making. And I think my students are intrigued by the fact that their teacher continues to study and have lessons. Perhaps the most significant thing I have learnt over the past twelve years is that learning is a continuous, ever-changing process. It is satisfying, occasionally frustrating, and deeply fulfilling to watch students develop, find their musical voice and tastes and, above all, to gain pleasure and enjoyment from their music making.