TeachMusic21C - Blog by Merlin B. ThompsonTeachMusic21C - Blog by Merlin B. Thompsonhttps://www.teachmusic21c.com/blogs/author/merlin-blake-thompsonTue, 14 Apr 2026 03:25:28 -0700http://zoho.com/sites/<![CDATA[What If "How Do I Get Students To Practice?" Isn't the Question We Should Be Asking?]]>https://www.teachmusic21c.com/blogs/post/What-if

Join a music teacher discussion group and it most likely won’t take long before someone asks the question, “How do I get students to practice?” It’s a question music teachers have grappled with for decades that carries urgency, frustration, and a genuine desire to help students succeed. Music teachers feel that practice is something we need to “get” students to do. We’re responsible for prompting, nudging, or insisting that our students practice diligently. When students do practice diligently, we feel successful in our teaching role. When students don’t practice as we’d like them to, it may be difficult to shake off the disappointment and insecurity we feel. 

What if “How do I get students to practice?” isn’t the question we should be asking? 


When music teachers focus on getting students to practice, we place our energy on strategies, incentives, and reminders—tools designed to increase minutes spent at the instrument. While these may produce short-term results, those same short-term results may not turn into long-term student involvement. And so it’s not long before music teachers need to come up with another cycle of new strategies, incentives, and reminders to get the job done. 


The problem with ongoing cycles of short-term solutions is that students may experience the opposite of what music teachers are actually aiming for. Rather than developing our students’ own musical relationship, students may come to understand practicing as something that blocks out their own musical connections. They see taking music lessons followed by practicing at home as an obligation - as something they’re required to complete. Practicing isn’t something they do because they want to or see its value. Practicing is what students do because their teacher tells them to. And as music teachers I think we can all agree, that’s not exactly what we’re hoping to achieve with music lessons.

How can I help students deepen their relationship with music? 


Every student who comes to music lessons already has a relationship with music - no matter how well defined or casual that may be. When music teachers help students deepen their relationship with music, we shift our attention from trying to control what they do to inspiring our students’ own meaningful musical explorations. And that might mean music teachers need to strategically put aside our commitment to practicing so that we can make space to talk about and explore our students’ own musical connections. 


What do students feel when they play their favourite piece? How do beginner string students feel when they play open strings? Or beginner brass students when they bring their instrument to life? What’s going on when students make music? Is it energy? Movement? Companion? Fun? Calm? Uplifting? 


When students leave their lessons with awareness, reminders, and validation of what their own musical connections feel like, they’re far more likely to seek out those connections at home. Not because they’re required to, but because they want to. When music teachers take the time to recognize who our students are and inspire their musical relationship, students connecting with their instrument becomes less of teacher requirement and more a natural part of students’ everyday lives. And that’s something we’d like to see, isn’t it!

Take a Deep Breath 


My goal in writing this article isn’t to get music teachers to abandon practicing structures or expectations. That would be ridiculous on my part. What I hope you come away with is an appreciation for all the amazing ways that students connect with music making. The next time the question “How do I get students to practice?” takes over your thought process, my suggestion is to take a deep breath. Recognize the moment as a request for reflective thinking. Take another deep breath. Then start putting together the remarkably creative and meaningful ways you can respond to the question -


How can I help students deepen their relationship with music? 


What does “a meaningful relationship with music” look like for each of your students—not in general, but individually?


What small shift could you make this week to support a student’s musical relationship, not just their practice habits?


How might your teaching look different if your primary goal was not minutes practiced, but a lifetime of musical connection?

Do you have colleagues who might appreciate reading this blog? Please feel free to share it with them.


If this exploration has got you thinking, I’d love to hear from you. Click HERE to send me an email message. 


This is your invitation to keep the conversation going....

]]>Mon, 13 Apr 2026 17:58:24 +0000<![CDATA[Teach with Vision. Inspire for Life]]>https://www.teachmusic21c.com/blogs/post/vision-inspire

Earlier this year, two parents contacted me about music lessons for their children. They visited my studio. We chatted. They had questions. So did I. After some time, the reassuring look on their faces told me we had arrived at an important commonality. We had zeroed in on something remarkable that would provide momentum and meaning for their boys’ music lessons. What was it? What did our conversation reveal?


A vision of lifelong music makers. We were unanimous in our enthusiasm for using music lessons to nurture their children’s own lifelong relationships with music. We had a vision of lifelong music makers - of what music lessons could accomplish for their two boys that reached far into the future.

What strikes me as noteworthy in our discussion was that it didn’t feel like I needed to convince the parents of anything. It wasn’t about me talking the parents into my point of view. My impression is that we were able to agree on our enthusiasm for lifelong music making because parents care about their children’s futures. Especially today with the intrusive presence of technology, parents want their children to experience life-affirming activities that prepare them for the future. They don’t want playing video games and scrolling to take over their children’s lives.


Vision and Inspiration - Since meeting with these new parents, I’ve been exploring how vision and inspiration impact music teaching. What I’m discovering is that when vision is present and consistently shared, it alters the entire studio experience. Having vision changes the way we inspire our students. It informs how we talk during lessons, the words we choose, and the actions we take with the goal of shaping how students build on and exercise their own relationship with music. When we teach with vision, we inspire students to explore music making as something that belongs in their everyday lives. Vision helps students and families understand what we’re doing and why it matters. Inspiration is how we put vision into action.


The more I explore this idea, the more I see that vision and inspiration need to be intentional. It’s about choosing words that open doors and reflect possibility. It’s noticing when students are most engaged and naming why that matters. It’s helping families experience for themselves how music making supports a full and meaningful life. It’s about doing all this again and again - week after week and year after year. 

This is where Teach Music 21C continues to grow for me. Now I’m planning ahead to bring clarity to what vision is and what we can do as inspiring music teachers. Not with trendy music teacher add-ons, but through the meaningful discussions we have, the timely questions we ask, and the activities that bring life to our student’s musical journeys. I’m looking forward to sharing more about the link between visionary thinking and the actions we can take to inspire students. 


Starting Today - I appreciate how teaching with vision and inspiration is something we can all begin right away. One conversation. One sentence. One gesture that connects what we say with what we do. When we teach with vision and inspiration, we do more than guide students through lessons—we help shape the role making music will play in their lives for years to come.


When you describe your teaching approach to parents, what future are you inviting them to imagine?


In your teaching, where does your vision of lifelong music makers naturally show up? Where might it be missing?


How do you help students see making music as part of their life, not just preparing for their lessons?

Do you have colleagues who might appreciate reading this blog? Please feel free to share it with them.


If this exploration of teaching with vision and inspiration has got you thinking, I’d love to hear from you. Click HERE to send me an email message. 


This is your invitation to keep the conversation going....

]]>Mon, 06 Apr 2026 15:22:53 +0000<![CDATA[Teaching Real Life Students in Real Life Music Lessons]]>https://www.teachmusic21c.com/blogs/post/real-life-students-lessons

Lately I’ve had the topic of real life students on my mind - and how all my students show up for their lessons with any number of individual characteristics. That means I have some students who learn quickly. I also have students who learn slowly. Some have lots of time to practice. Some have many obstacles that get in the way of practicing. Some of my students easily follow teacher’s instructions. Some need massive amounts of independence. My studio consists of real life students.


Why is it important to recognize real life students? Mostly because we come from a history where teachers often felt compelled to turn their students into the ideal version. For previous generations of music teachers, it wasn’t so much about recognizing students for who they are. It was about shaping students into a predetermined mold. That’s not what we’re doing in today’s music studios. 


Today’s music teachers value diversity and inclusion in our teaching. Our real life students arrive with any number of idiosyncratic characteristics. They have their own variations of curiosity, hesitation, energy, and individuality. Our role is to support them by meeting them where they are. Our goal is to make sure the next generation of music makers feels seen, capable, and inspired to create their own path.

Real Life Lessons - The shift from teaching “ideal students” to teaching real life students changes more than our mindset — it reshapes our teaching decisions. Real life lessons begin with a simple but powerful action: we stop delivering a standardized experience and start designing learning around the human being in front of us. This means adjusting what we teach and how we teach—our pacing, our expectations, our language, and even our measure of progress. Real life lessons are responsive. They make space for the student who had a difficult week, the one who is bursting with curiosity, and the one who needs a different path forward. In doing so, lessons become less about covering material and more about uncovering potential.


At the same time, real life lessons are rich with opportunity. When we pay close attention to our students, we begin to notice small but meaningful moments—breakthroughs, shifts in attitude, sparks of interest. These moments may not always align with traditional markers of success, but they are often the very experiences that shape a student’s long-term relationship with music. Teaching in this way invites us to be present, observant, and open to outcomes that are not always predictable.


Working with real life students also invites us to rethink why students seek out music lessons. Not every student is driven by exams, competitions, or external achievement. Not every student is a match for pop music, classical standards, or the latest YouTube trend. Many real life students appreciate making music as a space for enjoyment, expression, or sense of belonging. When we take time to understand what matters to our real life students, we can align our teaching with their personal reasons for learning. In doing so, we transform practice from an obligation into something that feels personal, meaningful, relevant, and worthwhile.

Make Moments for Gratitude - Teaching real life students reminds us that each lesson is an exchange, not a one-way delivery. Because our students bring their personalities, challenges, and perspectives into the studio, they continually shape us as teachers just as much as our influence shapes them. Gratitude helps us recognize the privilege of being part of that process—the opportunity to witness growth, to support development, and to share in the evolving musical lives of our students.


Gratitude also grounds us during the more challenging moments. Not every lesson will feel successful. Not every student will progress in a straight line. But when we step back and appreciate the broader journey, it becomes easier to stay patient, flexible, and committed. Gratitude shifts our focus from what is missing to what is present—from frustration to possibility.


Today's Real Life Teachers - I genuinely appreciate how today's music teachers are moving away from previous generation's focus on "ideal" students. It's refreshing and empowering to know that we are the generation that is changing the trajectory of music lessons. We are the music teachers who may accomplish something that no previous generation has been able to accomplish - truly lifelong music making. 


I think it's an immense honour to teach the students we have. By appreciating them for who they are and welcoming  their idiosyncratic characteristics, we create a learning environment rooted in respect, connection, and purpose. And in that kind of environment it seems quite certain, both real life students and real life teachers are far more likely to thrive.


So let's celebrate real life students AND real life teachers!


Are you designing lessons for the students in front of you or for an ideal you’re holding onto?


What do your real life students look like? What do they need from you?

Do you have colleagues who might appreciate reading this blog? Please feel free to share it with them.


If this exploration of real life students, teachers, and lessons has got you thinking, I’d love to hear from you. Click HERE to send me an email message. 


This is your invitation to keep the conversation going....

]]>Mon, 30 Mar 2026 21:18:39 +0000<![CDATA[Questions for Music Teachers that Never Seem to Go Away]]>https://www.teachmusic21c.com/blogs/post/Questions-Away

Have you ever noticed how certain questions just never go away? Uncomfortable questions like -  Why do so many students drop out of music lessons? Why do so few students participate in recreational music making as adults? What’s going on? Who’s at fault? What are we doing wrong?


These uncomfortable questions persist because, as music teachers, we know first hand what it’s like to enjoy long-lasting and meaningful connections with music making. And furthermore, we’d really like every person to enjoy a meaningful long-lasting relationship with music. Not just a few students here and there. Every person. 

What can music teachers do? Over the long course of my career, I’ve noticed that students rarely disengage because they lack ability. Most often, it’s because students struggle to make connections between their music lessons and how making music fits into their lives beyond the lesson. The challenge for music teachers is that when music lessons focus on formalized teacher-led achievements — prescribed pieces learned, exams passed, recitals completed — we may miss the larger goal: helping students build lasting, personal relationships with music.


That’s why I value looking to the future and to the kind of musical life each student might carry forward. When I consider how my students might participate in music making activities as adults, lesson activities take on a much more meaningful trajectory. Like for my student Reggie, who I see improvising for her own enjoyment years from now when she gets home from her day job. Or my student Alex who’ll be routinely advising his friends in university to take a music making break from their studies every now and again. Or my student Ian who’ll get together with friends to jam in the garage. These are things I can see them genuinely doing.

Students' Own Musical Connections - Do our music lessons empower our students’ independence and ownership? Are students given opportunities to make choices and connect making music to their own experiences? When students feel that music belongs to them—not just to the teacher or the studio—it’s obvious that they’ll be far more likely to continue. Including student choices in lessons can create powerful changes in how students perceive music: from something they do for lessons to something they do for themselves.


Uncomfortable questions regarding the prevalence of student drop outs and limited adult participation in making music may be jarring for music teachers. However, recognizing what’s going on is a promising first step. The second step is the important one because that’s where we actually do something about it. So let’s be the generation of music teachers that makes things happen. Let’s get going.

 

I appreciate when music teachers align our teaching with a vision of lifelong music making, we can anticipate some very exciting results. We may find that students stay engaged. Students continue making music that matches their own personality. Students discover that making music is more than just an after-school activity. It’s an integral part of who they are.


  • When music students leave your studio, what role does music making play in their everyday lives? 

  • What can you do in this week's lessons to highlight the value of making music? 

  • In what ways do your lessons invite students to take ownership, make choices, and see music as something that belongs to them?

    • Do you have colleagues who might appreciate reading this blog? Please feel free to share it with them.


    If this exploration of uncomfortable questions has got you thinking, I’d love to hear from you. Click HERE to send me an email message. 


    This is your invitation to keep the conversation going....

    ]]>    Mon, 23 Mar 2026 15:10:44 +0000    <![CDATA[The Gift of Lifelong Music Making]]>https://www.teachmusic21c.com/blogs/post/Gift-lifelong-music-making

    I think it’s safe to say that for many of us, we become music teachers because of the profound way that making music has shaped our own lives. We’ve experienced the wonder and magic that lifelong music making has to offer year after year - most likely from our childhood. Looking back to my childhood days, I had a lot of music lessons even though I have limited memories of what actually went on. What I do remember from my childhood and what I do carry forward to this very day mostly has to do with what I call “completeness”. How making music confirms who we are at our very core while expanding the borders of our lives without asking for permission or even expecting anything in return. That’s why it’s easy for me to admit that I keep going back for more music making. I mean - Why would anyone give that up? 


    What does this mean for my teaching? How does my teaching reflect the mystery and magic of making music? What about "completeness"? How can I be intentional about something so personal? 

    In My Studio - Recently, my student Reggie has been very curious about the chords in repertoire I’m playing when she arrives for her lesson. She’s a student who easily gets discouraged by reading in the bass clef and can lose motivation in the blink of an eye. At this week’s lesson, she shared with me a lovely one minute improvisation in the key of D major. It could have been titled “Meditation”. Reggie’s a great example of the various layers students bring to their lessons. Some layers are straightforward for me address. Other layers require open space for her participation. Still other layers are yet to come. I appreciate how I need to frequently remind myself that not everything is about making sure Reggie gets the next piece smoothly hands together.


    Questions to Keep Me On Track - How much of what I do with my students actually stays with them? How will my students continue to make music when no one is asking them to? When my students become adults, will music making still be part of their lives? What can I do to influence my students as lifelong music makers? How can I make “completeness” something all my students take away from their music making experiences?


    Questions like those above have been my companions for decades. They invite my reflection and curiosity. They serve as reminders that what I bring to every lesson, every student, every teaching moment is always about the mystery of making music. It's the gift that instills “completeness” while expanding the borders of our lives without asking for permission to do so or even expecting anything in return. 


    My responsibility is to be a conduit for the wonder and magic of making music. It's something I look forward to every day!


    Reflective Questions - 

  • How can you help students to experience music as something personally meaningful rather than simply something to complete or master?


  • If your students returned to music years from now, what experiences from their lessons would draw them back?

    • Are you interested in reflecting deeply on teaching and guiding students toward a lasting music making relationships?


    Do you have colleagues who might appreciate reading this blog? Please feel free to share it with them.


    If this exploration of lifelong music making has got you thinking, I’d love to hear from you. Click HERE to send me an email message. 


    This is your invitation to keep the conversation going....

    ]]>    Mon, 16 Mar 2026 17:08:08 +0000    <![CDATA[The Intersection of Montessori Principles and Teach Music 21C]]>https://www.teachmusic21c.com/blogs/post/Montessori-TM21C

    Guest post by Dyane Protzmann Rogelstad

    In February 2025, I had the wonderful treat of visiting my granddaughter’s Montessori school in St. Helena, California. Spending time in her Primary classroom was such a joy. I just sat back and soaked up all the light and love in the room. It was a calm and quiet atmosphere, with low chairs, natural light, beautiful organized materials, and teachers who interacted gently with their students. 


    I’m sure that because of my Suzuki background, I felt right at home. That training and almost 40 years of teaching, has given me such a great toolkit for observing how kids learn and grow. After that visit, I couldn’t help but dive a bit deeper into how Montessori principles naturally weave together with Suzuki philosophy and Teach Music 21C.

    Here are a few of those beautiful intersections in action:

    Respect for the Child - In the Montessori tradition, teachers embody the qualities they wish to nurture by demonstrating respect in every interaction. As both a Suzuki teacher and Teach Music 21C graduate, I find this principle essential to my studio vision; I prioritize letting the child lead with curiosity and meaningful dialogue. By using my body and words to model the character I want my students to absorb, I create a bridge between behavior and artistry. Whether I am sitting at the piano to demonstrate correct posture, using a quiet voice with age-appropriate language, or utilizing gestures that communicate love, my goal is to provide a model for the student to observe and imitate. This process allows the student to naturally absorb how the body creates beautiful music through a foundation of mutual respect. 


    Sensitivity to All Stages of Learning - While Montessori education emphasizes supporting a child’s specific stage of growth, Suzuki and Teach Music 21C teachers apply these same principles through a shared curriculum model. We begin this journey by identifying what music a student loves and what they already know, ensuring the starting point is always the student’s current reality. TM21C teachers remain acutely tuned to how a child’s musical interests evolve over time, showing sensitivity to their family structure and cultural background. By finding ways to encourage growth across a wide variety of real-life environments, we ensure that musical education feels relevant and accessible to every individual child.

    The Prepared Environment - The Montessori "prepared environment" relies on highly refined, accessible tools designed to fit a child’s physical size and sensory needs. Suzuki and TM21C teachers mirror this by selecting instruments of the highest quality and ensuring they are properly scaled to the child’s body, such as using adjustable seat boosters and sturdy footstools for piano students. As the child grows, these tools are adjusted to provide continuous support. TM21C further extends this concept by helping families cultivate a "home musical environment" that supports the child outside of the studio. We recognize that a student’s sense of musical ownership and a happy relationship with their instrument are foundational skills nurtured from the very first lesson. 


    Fostering Independence and Real-Life Skills - Independence is a cornerstone of Montessori education, where teachers offer guidance while allowing children the freedom to explore at their own pace. TM21C teachers practice this by asking insightful questions rather than simply delivering instructions, which shifts the traditional mentor-student dynamic toward a shared musical journey. By following the student’s curiosity and supporting them with our expertise—rather than letting that expertise dictate the path—we allow the learner to take full ownership of their progress. This model fosters a sense of independence that fuels a lifetime of musical adventure and enjoyment long after they have left the studio setting.


    Closing Thoughts - I’ve found immense encouragement in seeing the synergy between the Montessori and Suzuki philosophies. My recent school visit confirmed that the way children are 'seen and heard' in a Montessori classroom perfectly aligns with the environment I cultivate in my music studio. 


    Teach Music 21C has provided the tools and the confidence to evolve my approach, allowing me to better support the way children naturally learn. I am enjoying the process of outgrowing traditional mentor-student hierarchies in favor of a more holistic model. It’s remarkable how both Maria Montessori and Dr. Shinichi Suzuki arrived at these powerful, parallel insights so long ago. 

    Do you have colleagues who might appreciate reading this blog. Please feel free to share it with them.


    If this exploration sparks further thoughts, I’d love to hear from you. Click HERE to send me an email message and keep the conversation going. 

    ]]>    Mon, 16 Mar 2026 17:08:08 +0000    <![CDATA[Let's Stay Connected: Our Professional Community]]>https://www.teachmusic21c.com/blogs/post/professional-community

    Every once in a while I’m struck by how teaching private music lessons can be a lonely journey for music teachers. That might feel like a surprising statement, especially when we spend so much time working with our students, but music teachers need something more. We’re engaged in energy-consuming and rewarding work that’s deeply relational and often isolating. We spend lots of time away from the community who understands us the most. Of course, we have endless conversations with students, but those interactions cannot even come close to the professional conversations we need with colleagues who understand the unique challenges of teaching music.

    Staying connected to our professional community doesn’t need to be complicated. Often it begins with genuinely simple gestures. This week, please consider taking one of the following steps toward connection:


    1. Reach out to a colleague. Send a quick message, email, or text to another music teacher and ask how their teaching is going this week. A short exchange about students, repertoire, or teaching challenges can remind you that others are navigating many of the same experiences.


    2. Share a teaching idea. Think of an activity, repertoire selection, or practice strategy that has worked well in your studio and pass it along to another teacher. Professional communities grow when we freely exchange ideas that support each other’s teaching.


    3. Express gratitude. Take a moment to thank a colleague who has influenced your teaching. A simple phone call or email message of appreciation—whether for a helpful idea, a conversation, or years of example—strengthens the relationships that make professional communities meaningful.

    4. Offer inspiration. Share something uplifting with your teaching community: a short quote, a musical discovery, or a moment from a lesson that reminded you why this work matters. Inspiration spreads easily when teachers encourage one another.


    Here at Teach Music 21C, we appreciate how our music teaching community provides us with a place to exchange ideas, ask questions, share frustrations, and celebrate small successes that others might not understand. Even a brief conversation with another teacher can spark a new approach, restore perspective, or remind us that we are part of something much larger than our own studio.


    Please remember that while teaching may sometimes feel solitary, we are never meant to do this work alone. 


    Who can you reach out to this week for a quick message?


    What idea would you like to share with a colleague?


    Who would you like to thank for their influence on your teaching?


    What inspiration would you like to pass on?

    Do you have colleagues who might appreciate reading this blog. Please feel free to share it with them.


    If this exploration sparks further thoughts, I’d love to hear from you. Click HERE to send me an email message and keep the conversation going. 

    ]]>    Mon, 09 Mar 2026 15:37:10 +0000    <![CDATA[Acceptance & the Complexity of Music Teaching]]>https://www.teachmusic21c.com/blogs/post/acceptance-complexity

    I know I talk a lot about accepting our students for who they are. For me, acceptance feels like a basic pedagogical stance - not just some kind of sentimental gesture. Accepting our students asks us to see irregularities not as problems to eliminate, but as realities to understand. Every student arrives with habits, histories, preferences, blind spots, strengths, and surprises. If we expect neat, compliant, predictable learners, there's a good chance teachers will constantly feel frustrated. But if we expect humanity — complexity, experimentation, and occasional chaos — then those same moments become opportunities for relationship, reflection, and growth. 


    What does it mean for music teachers to accept our students for who they are? What kind of irregularities may we encounter? Take a look at the following opportunities for acceptance. 

    1. Students may forget their notebooks. Of course it happens. I know that every week that I take notes to send home with students, there’s a distinct possibility they’ll forget to bring them for their next lesson. And it’s not the end of the world. Between the two of us, I’m 100% certain that we can come up with an approximation of what was written down. Like when my student Luke forgets to pack his notebook, I appreciate how a few moments of brainstorming reinforces that we are a reflective team whose combined efforts will always outpace what either of us could come up with on our own. We can accept that students may forget their notebooks.


    2. Students may learn a great deal from making their own decisions. My student Alex, who moved to Calgary after 2-3 years of piano lessons, is a good example. Right from his first lesson Alex wanted to practice everything as fast as possible. It was something his former teacher never allowed. So I said, “Sure. Give it a try and see what happens.” Week after week, Alex practiced as fast as possible until the revelatory week when he reported, “Dr. Thompson. I think I’ve gone as far as I can with fast practicing, so I’m going to give slower practice a try next week.” Sometimes patience on my part can go a long ways. We can accept that students may learn a great deal from making their own decisions.

    3. Students may get worse by following my instructions. When I asked my student Marko to practice by really paying attention to the beat in his repertoire, I never anticipated he’d come back and perform with such a formidable beat that it was nearly unbearable to listen to. I learned I needed to be more intentional with my language by talking about “too much”, “too little”, and “just right” amounts of any strategy. It’s the whole Goldilocks approach. We can accept that students may decline by following our instructions. 


    Concluding Thoughts - I appreciate how accepting students for who they are means recognizing that our students' musical development rarely unfolds according to some kind of neat and orderly plan. It includes forgotten notebooks, over-enthusiastic tempi, and misapplied strategies. It includes our own miscalculations as teachers. But when we respond with curiosity rather than panic, creativity/compassion rather than control, we create a studio culture where irregularities are anticipated, experimentation is safe, and reflection is shared. And in that kind of environment, students do not merely comply — they flourish.

    How do you feel about accepting students for who they are?

    What might get in the way of accepting students?

    Do you have colleagues who might appreciate reading this blog. Please feel free to share it with them.


    If this exploration of Acceptance has got you thinking, I’d love to hear from you. Click HERE to send me an email message and keep the conversation going. 

    ]]>    Mon, 02 Mar 2026 17:21:34 +0000    <![CDATA[Asking Questions & Fear: Inside the Music Teaching Studio]]>https://www.teachmusic21c.com/blogs/post/fear-asking-questions

    I think it’s safe to say that music teachers value the process of asking questions as a great way to build student engagement, independence, and understanding. Asking questions can shift lessons from teacher ownership to student discovery and yet - it’s not as simple as all that. Sometimes music teachers might hesitate with asking questions. Not because we don’t believe in questions - because we do. 


    We hesitate because we’re worried about what students will say. Especially when we ask questions about how students’ practicing turned out and the student replies that they didn’t practice at all. Or they say everything was harder than ever to tackle, or nothing on the homework sheet was easy to do. Answers like those can make teachers feel uncomfortable and worried about asking questions. 

    At Home - During students’ weeks at home, they will - in all likelihood - experience an entire spectrum of musical successes and obstacles. Some weeks will go well. Some weeks come with seemingly endless conflicts. So it’s important for me to remember all of that belongs to them. It doesn’t belong to me their teacher. What students do at home is much more complicated than how well I teach or who I am as a person.


    When students tell me they’ve had a difficult week, the best response I can give is to understand where they’re coming from and be grateful they feel comfortable enough to share that with me. I know what it’s like when teachers don’t want to hear about any irregularities to practicing. When teachers ask questions to make students uncomfortable. That’s not the kind of environment I want my students to experience.


    I want students to know that I come prepared for whatever they bring. When they indicate they’ve not practiced, I respond with “Where would you like to get started”. When everything has been hard to do, I share my understanding, “I know what you’re saying”. When nothing was easy, I’m ready with, “That’s a tough one. Maybe we should just start with some deep breathing”. Nodding my head along with eye contact can provide a sensitive message.

    Inherited Reactions - A challenge music teachers often face is that we grew up in environments where many teachers asked questions about practicing in order to verify student diligence, not to explore thinking or gather relevant information. Questions were frequently asked as an opportunity for students to confirm that they’d followed instructions to the letter. When students indicated they were able to complete the teacher’s instructions, everyone could celebrate. However when students indicated being unable to complete the teacher’s instruction, teachers often responded with less than empathetic tones. Most likely, shame and disappointment figured highly in the teacher’s reaction. The question “How did your practicing turn out?” didn't feel like curiosity. It felt like inspection.


    That’s why I like to keep in mind when a student says, “I didn’t practice,” that statement is the beginning of a conversation, not the end of progress. When they say, “Nothing was easy,” they’re offering insight into their experience. When they say, “It was all too hard,” they reveal something valuable about their own journey. 


    Alternatives - Here are some must-have statements music teachers can use to respond with empathy: “Tell me what got in the way”. “What would you like from me?” “Show me what felt hardest”. “If you had five minutes today, where would you start?”


    Notice how the tone shifts. These simple statements help us in strengthening our partnerships. Students who feel safe telling the truth about their practice are far more likely to grow than students who feel they must protect themselves from teacher’s disappointment or rebuke. Honesty gives us something to work with. When we respond with genuine steadiness, we teach students that difficulty is discussable. Effort can be recalibrated. Setbacks are workable.

    The Goal - In the long run, asking questions isn’t about ensuring that students report perfection week after week. The point of asking questions is to create an environment where students can speak honestly about their process—and trust that we’ll help them move forward from wherever they are.


    Asking questions is a tool for exploring many directions. Today’s students benefit when music teachers ask questions as invitations rather than tests. When answers—correct, partial, or uncertain—are treated as information, music teachers can get things moving. When music teachers are willing to ask questions - and wait, and empathize, and understand - we create a remarkable environment where students experience the spectrum of musical celebrations and setbacks. It’s an extraordinary space that provides the backdrop for students to deepen their musical connections and repeatedly get well-deserved boosts of confidence in who they are.


    How do you feel about asking questions? 


    Are there certain questions you avoid? Why do you think that’s so?


    What does this article shed light on in your teaching?

    I'm always hoping music teachers like you will share this blog with colleagues who might appreciate reading it. Please feel free to pass it along.


    If this exploration of Asking Questions & Fear has got you thinking, I’d love to hear from you. Click HERE to send me an email message and keep the conversation going. 

    ]]>    Sun, 22 Feb 2026 16:53:42 +0000    <![CDATA[Accumulated Repertoire: The Question of How Many Pieces]]>https://www.teachmusic21c.com/blogs/post/how-many-pieces

    How can music teachers decide the number of pieces our students should practice during the week? What’s an appropriate amount? Of course, it depends on age, level, and personality — but what else should we keep in mind? To answer these questions, I appreciate how language learning offers a parallel model.

    Language Learning - In learning to speak, we always have far more internalized vocabulary than new words we’re trying to learn. That's a basic as our accumulated vocabulary provides a solid foundation for acquiring new vocabulary. New words are added gradually — resting on the ever-expanding foundation of what we already own.


    Learning to sing or play a musical instrument can operate similarly in terms of students’ accumulated repertoire and new pieces. That means students always explore a combination of old pieces from their accumulated repertoire alongside their newest selections. For a healthy ratio, students benefit when they have more old pieces than new ones - similar to what we experience with vocabulary.


    For example, my elementary student Jeremy has a total of ten pieces. He has seven accumulated repertoire pieces in which he continues to refine his technique, expressive control, fluency, and more. With his three newest pieces, one piece is coming along, another is still hands separate, and his third new element involves reading only. This ratio means that Jeremy thrives from having a mixture of stable and getting-stable elements in his practicing.


    New Pieces and Old Pieces - The challenge with a diet of only new pieces is that students may spend a lot of time working just to get things up and running. And that can have a negative impact on the momentum of keeping things going week after week. The advantage of including accumulated repertoire in students’ homework is that those pieces serve as the active resource of abilities just waiting to be transferred into the newest pieces. Once the newest pieces have a certain amount of fluency, students can apply aspects like keeping a steady beat or shaping phrases that they’ve mastered in their accumulated repertoire. 


    A daily routine of old and new pieces also brings variety to students’ practice. New pieces may require a certain amount of diligence and perseverance that is nicely balanced by the comfort students have with their old pieces. In this way, students’ practice has an ebb and flow of intensity in relation to what they’re working on. Not to mention how the accumulated repertoire means students always have something to perform for impromptu concerts.  


    Teacher Organization - With the combination of old and new pieces, it’s absolutely essential that I’m organized in each week’s lesson - because both areas will require appropriate follow up. Spending time only in one area signals to students that the other area may not be all that important and before you know it - they’ve stopped practicing that area at home. 


    Over the years of my career, I’ve grown to really appreciate the benefits of combining old and new pieces. For sure, it takes some time to get things set up, but once that’s done - we just keep on going!! It’s a win-win for everyone!


    Do you include your students’ accumulated repertoire? Why? Why not?


    Where do you spend the most time: Accumulated repertoire? New repertoire? 


    Do you have colleagues who might appreciate reading this blog. Please feel free to share it with them.


    If this exploration of Accumulated Repertoire has got you thinking, I’d love to hear from you. Click HERE to send me an email message and keep the conversation going. 

    ]]>    Mon, 16 Feb 2026 17:10:22 +0000