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I would probably say that I was not the only one, who got bored looking at musical notes during a Music class years ago. Perhaps, it is because children just do not get fascinated with pages of lines and notes, colored black and white. Now, that I am no more a kid, I admit that it’s still dull to look at those stuffs and I still feel the same way.

I have nothing against reading musical notes but I would just rather sing than struggle dealing with such complicated matters. Music teaching tips might help me learn music easier, but I would also need of a very patient teacher to assist me so.

When I was in grade school, I used to be a member of a drum and lyre band. I experienced playing both the lyre and the drums and found the latter easier. However, I ended up playing the lyre. It was fun especially when we won awards in exhibition competitions. We also did caroling during Christmas holidays and played in different events and occasions.

I enjoyed playing those instruments although there were times I got embarrassed when I made mistakes. There came some instances when I escaped attending band practices because I knew I would be called by our bandmaster. I did not like the feeling of receiving special attention. Worst, I got such because I messed up.

We had our band practices a group at a time. Usually, the lyrists practiced first then the drummers, or otherwise. Then, we played in a classroom as a whole – all together. Our bandmaster used different music teaching tips and strategies to help us learn music pieces easily. What was remarkable to me was that of Psychology’s Operant Conditioning.

Does it ring a bell? Or does it sound unique? I somehow have a clue how Music is related to Psychology but the other way around, I am not really sure. But I can say it was effective in my case.

Our bandmaster gave us two options: (1) we had to perform in our exhibition drills as if we were in the actual competition-meaning having minimal mistakes as possible- so we could get home early. We used to have practices a couple of whole consecutive days and those were really exhausting; or (2) he would pull our sideburns for every mistake we would commit. The former condition is a ‘reward’ while the ‘latter’ is a punishment. Of course, we would go for the reward. After all, who would want to be punished?

There are lots of accessible music teaching tips and strategies anywhere. You can look for books at the nearest bookshop from your home or visit a fellow music enthusiast and ask for useful tips. Also, you can surf the Internet for easier access of general or specific information.

(This article was written by a friend named Morgan Hall)

Know more applicable music teaching tips, log on to Music Teachers website.

Many people who put their heart into music, put their business into music teaching. There are many fields of music education and if you are proficient in one or more you will surely find work. The first thing that a music teacher has to do is choose what he or she will focus on, be it an instrument, voice coaching, music theory or even music history. Next comes the time to assess your own knowledge on the topic. If you have a degree of Bachelor of Music, Bachelor of Music Education or Master of Music, you are probably comfortable enough teaching at any level. However if your learning did no go that far, you should be teaching at a more basic level. In any case, be sure you are qualified and are honest about your qualifications with your clients.

Consider also who you want to teach. Maybe you would love to help young children take their first steps in music. Or maybe you want to work with older kids or adults on continuing or just starting their education. Be sure you adapt your teachings and, if you need to, talk to pedagogues so you know how to deal with a child. The planning of the classes can be tricky and do not think for a second that only adults can spot if you did not prepare the lesson. A kid will notice and can get bored and even give up if they feel you are not making an effort.

Scheduling can also be difficult. Whatever you do, do not book more than one student for a time slot and try not to extend the lesson pass its designated time. It just screams that you are unprofessional. Remember during which hours kids are in school and are not available. Moreover, keep in mind that a 6 year-old attention span is not the same as a 16 year-old’s so the time which lesson takes depends very much on the student. It also depends on you personally and on your teaching method.

On that topic, there are a lot of different music teaching methods out there. One of the most popular is the Suzuki Method, but others include the Dalcroze Method and the Yamaha Method. Even if you choose not to follow any of these, it is very interesting to learn a bit about each. It will open your eyes and you will see your work under a whole new prism. In the end, you probably will take some directions from these methods, even if subconsciously.

These are the basics you should take into account when setting up as a private music teacher. Others are simple, practical choices like the place you want to teach, the prices you will charge and how to keep your financial books. However, most of it comes from practice and time. You are a music teacher, so you know that everything does.

 

8eva – an octave higher

A tempo – resume the normal speed after a diversion

Accelerando (accel.) – gradually becoming faster

Adagio – slowly, leisurely

Ad libitum – at pleasure, quite freely

Agitato – with agitation

Allargando – broadening out, often with an increase of tone

Allegretto – moderately fast; slightly slower than allegro

Allegro – lively and reasonably fast

Andante – at an easy walking pace

Andantino – a little slower (or a little faster than Andante)

Animato – with animation

Arco – (for string players) with the bow

Attacca – go on at once

Ben marcato – well marked

Brilliante – sparkling, brilliant

Brio – vigour

Calando – getting softer and slower

Cantabile – in a singing style

Capo – the beginning

Con anima – with feeling

Con brio – with spirit

Con forza – with forza

Con grazia – with grace

Con moto – with movement

Con sordini – with the mutes

Crescendo (cresc.) – gradually becoming louder

Da Capo (D.C) – from the beginning

Dal capo al fine or D.C. al fine written under the last bar of apiece of section – the music is to be repeated right from the beginning until it reaches the word ‘fine (the end).

Dal Segno – from the sign ; the music is to be repeated from where the sign occurs earlier in the piece, then carrying on to the end.

Decrescendo (decresc.) – gradually becoming softer

Diminuendo (dim.) – gradually becoming softer

Dolce – soft and sweet

Forte (f) – loud

Forte-piano (fp) – loud then immediately soft

Fortissimo (ff) – very loud

Forzando (fz or sfz) – with a strong accent

Giocoso – gay, merry

Grave – very slowly

Grazioso – gracefully

Largo – slowly and stately, broad

Larghetto – slower than Largo

Legato – smoothly

Leggiero – lightly

Lento – slowly

Loco – at the normal pitch (generally after playing an octave higher)

Maestoso – majestically

Main droite (M.D.) – right hand

Main gauche (M.G) – left hand

Marcato – marked, accented

Meno mosso – slower, less movement

Mezzo forte (mf) – moderately loud

Mezzo piano (mp) – moderately soft

Mezzo staccato – moderately short and detached; shown by dots covered with a slur

Misterioso – mysteriously

Moderato –at a moderate speed

Molto – very, much

Morendo – dying away

M.M – Maelzel’s metronome

Opus – a work or group of works

Ossia – or (an alternative version)

Ped. – depress the sustaining pedal of the pianoforte

Perdendosi – dying away

Pesante – heavily

Piacevole – pleasing

Piano (p) – soft

Pianissimo (pp) – very soft

Piu mosso – quicker

Pizzicato (pizz.) – plucked (in string music)

Poco – a little

Poco a poco – little by little (gradually)

Presto – very fast

Prestissimo – extremely fast, or as fast as possible

Rallentando (rall.) – gradually becoming slower

Risoluto – with resolution, boldly

Ritardando (retard.) – gradually becoming slower

Ritenuto (riten. or rit.) – immediately slower or hold back

Ritmico – rhythmically

Scherzando – playfully

Sempre – always

Senza – without

Sforzando (sf) – a strong (sudden) accent

Simile – in a similar manner

Sostenuto – sustained

Staccato – detached, short; note sustained for half the written length (shown by a dot above or below each note)

Stringendo – gradually faster

Subito – suddenly

Tempo – the speed of the music

Tenuto (ten.) – hold

Tranquillo –quietly, calmly

Tre corde – release the left, soft pedal of the pianoforte (with three strings)

Troppo – too much

Une corda – depress the left, soft pedal of the pianoforte (with one string)

Vivace – lively

Vivo – lively

Signs:

- accent; give prominence, play with force

[Respectively, strong accent marcato, normal accent, and tenuto]

- the music or passage between the dots is to be played again

(fermata) – musical symbol placed over a note or rest to be extended beyond its normal duration

- tie or bind, indicating that the note being played or sung sustained, unbroken, through the total time value of the notes

- slur; a group of notes are played under a single bow stroke (string), or without retonguing (wind), or in one breath (singing), so that the notes move smoothly with no perceptible break

- metronome mark, indicating the speed at which a piece is to be played; 60 crotchets to the minute

- up-bow (bowed instrument – bow is pushed across the string); up-stroke (guitar – the string is plucked with the hand moving upwards)

- down-bow (bowed instrument – bow is pulled across the string); down-stroke (guitar – the string is plucked with the hand moving downwards)

- a less strong accent placed above or below the note meaning that it is to be stressed but not as strongly as when marked as > or

written by Janet Yun from www.shinemusic.com.au teachers of piano, saxophone, violin, singing, drums, electric guitar, acoustic guitar, flute and clarinet