I found that compliment cards help to reassure students and parents that there are many beautiful moments in a performance. This feedback lifted the energy of the post-recital lessons. Students are inspired to continue working on performance skills. Parents are reassured about their investment in lessons! AND What a lovely way to build support and community within your teaching studio.
Helping our students learn to sing harmonies starts from the very first lessons. Here are some teaching strategies and resources that help. I have also included some online activities that may be helpful if you are unable to teach in person (like me).
Age-appropriate repertoire makes a difference. Here are activities for a private singing lesson plan using Donna Rhodenizer’s new song: Wolf in the Forest. These teaching strategies can work for both in-person and online lessons.
Using Share screen and annotate features in your online lessons can clarify your instructions and keep students of all ages engaged in your voice lesson. (Also, super fun!)
Online lessons are now “a thing”. And they will be “a thing” for the foreseeable future. We can gripe and complain, or we can CHAMPION this new platform and keep our students smiling and singing. (And KEEP our students in our studios!)
Here is the step by step for my online small group singing class. I hope this helps you find some inspiration and courage during your transition to online lessons.
What do you do when your student can’t/shouldn’t/won’t sing?
![[5+ Tips] How to Compete with After School Programs (and win!)](https://www.fullvoicemusic.com/wp-content/uploads/2022/01/certificate-1-400x250.jpg)
Private music teachers/private music lessons compete with other after school programs and the competition is intense! Sports, Dance, Arts, Clubs…There are so many activities… How do you ensure that families make music lessons a priority in their busy schedules?
We all know that clean, crisp movements work best on stage. But they can be intimidating to practice, leading to the bent elbows and small, half-hearted gestures we teachers know and loathe. If we were to develop a studio culture of intentional movement and creative exploration, I wonder: would our students begin to see themselves as naturally rhythmic people? Would they develop a greater sense of spatial awareness? Would they carry themselves–on stage and off–with more grace and confidence?
