How to give particular music classes: guide to teachers

Before first class: initial conversation

A ten-minute call or message exchange saves you a first class with a blind face.

• How old's the student and what's his previous experience with music?
• What do you want to learn about? Playing with the high school band, accompanying songs, presentinga race or simply enjoying them are different goals.
• Do you have an instrument and what status? A guitar with high strings or a small keypad will condition everything.
• What music do you love to listen to?
• What days and hours work for you and the class will be virtual or at home?
• If she's a minor, what grown up will be at home and who will be your contact?

That's how you get those answers with material that's been thought for that person, but with a generic class.

First class: diagnosis without examination

The first class has two aims: to understand where the student is and to leave with a desire to come back. No intimidating tests and diagnosis are made by playing and playing.

Reserve the last few minutes to play something new, though quite simple: a rhythm, two chords, a sentence. To leave the first class by playing something that I didn't earlier know was the best argument to follow.

He's planning for goals, and I'm just class to class.

With his diagnosis, he defines targets for the next four to eight weeks. A good goal can be seen and heard: "To play the first section of his waltz with his two hands at a slow tempo" says far more than "better with piano." He combines three types:

• A technical goal: A scale, a chord shift, an arch blow, a digitation.
• A Repertoire goal: a complete piece or song, chosen with the student.
• A goal of reading or hearing, as shown by the diagnosis.

Check the goals with the student or his or her family every month. If they were not met, ask if they were realistic, if there was practice at home or if the plan needs another way. How do we turn those goals into a concrete session we develop them in how to prepare a music class?.

And she keeps a brief record after every session: what was done, what worked and what remains for the next. With several students a week, memory doesn't reach.

Agreements and communication with families and students

Most misunderstandings in particular classes come from agreements that have never been discussed. Before we start, leave in writing:

• Day, time and duration of class.
• How far ahead can you cancel and how classes are re-put.
• What if it's you that cancels.
• How much practice at home you're expecting and how you're going to register.
• The communication channel and what times you answer.

with children and adolescents

He dedits two minutes at the end of his class to tell his family what his work was and what to practice. He talks about concrete advances and not about generalities. If there's a problem, as if they don't practice or get frustrated, discuss with his adult and conduct a proposal, and not just his complaint.

Always contact with the responsible adults and not by private chats with the minor and get an adult at home during class. They are boundaries that protect the student and you as well.

with adults

Adult students often have little time and high expectations. Adjust their goals to their actual agenda, explain to them how best to conduct every exercise and give them a repertoire they have been wanting from the start.

Timeness and professionalism

In Bogotá, a tranny can have half a class. Plan your routes with a margin, group up students by area as soon as you get to know that you're going to be late, and not while you're late.

• It starts and ends at an agreed hour and if the student arrives late, the class will be put to an end unless they have agreed.
• Keep the material ready before you get here or get connected.
• Keep them quiet and out of sight, except for a methonomer or a recording.
• Ask permission before you touch the student to correct a posture, and sometimes you have to show them with your own body.
• Take care of your presentation and your language, and also at virtual classes.

Virtual or at home classes: what changes

Virtual, activates the music sound mode if your platform has and checks your own equipment and we leave you with recommendations [equipment for virtual music classes]](/blog/equipo-para-clases-virtuales-de-musica-camara-microfono).

If you are interested in teaching in both formats within a network, A medio tono We are looking for teachers for virtual and at-home classes in and around Bogotá and we evaluate them with music, pedagogy and human quality before their first class. To propose as a teacher and if you're still defining your path, read how to be a teacher of music in Colombia.

Common mistakes of the props that start

• To talk more about what the student plays: the instrument should be in his or her hands most of the class.
• To run everything at once instead of choosing a single fragment correction.
• Always use the same without repertoire method as the student likes.
• To leave vague tasks, as "practice the song."
• Do not record progress and forget what was done last week.
• Accept followed class at opposite ends of town, with no space for traffic.
• To put an end to difficult family talks till the problem's already great.

Frequently asked questions