Teach Your Family to Play the Soprano Recorder

Teach Your Family to Play the Soprano Recorder Marcia K. Washburn Building Tomorrow s Generation www.marciawashburn.com

Teach Your Family to Play the Soprano Recorder 2012 by Marcia K. Washburn Purchase and use of this book constitutes acceptance of the following conditions: that all activities herein contained are to be conducted with appropriate adult supervision; that due care will be exercised by parents and/or guardians in selection of activities, especially with regard to the age-appropriateness of the activity; and that neither the author nor Next Generation Publishing shall be in any way liable for any adverse actions or mishaps arising directly or indirectly from inadequately supervised activities, or from adverse actions or mishaps arising from instructions included in any part of this book. All rights reserved. The purchaser does not have permission to forward or share this book with others in any format. This is unethical and illegal and violates the copyright laws of the United States. Permission is granted to the original purchaser to print copies of this book or portions thereof as needed for use by immediate family members. Permission is granted to store a file copy of this book on the purchaser s personal computer. These rights are not transferable to subsequent owners. For further information about this publication, please contact the author at marcia@marciawashburn.com or visit the Building Tomorrow s Generation website at www.marciawashburn.com. Printed in the United States of America. Formatted by Anna Storrie

Contents Introduction 4 Prior to the First Lesson 6 Introduction to the Recorder 9 Part A: Teaching Rhythm 9 Part B: Recorder Basics 11 Learning Your First Notes 15 Playing Songs You Know 18 Resources 23 Listening Selections 26 Music Exercises 28 Merrily We Roll Along 30 Hot Cross Buns 31

Introduction One of the best ways to learn to read music is to learn to play an instrument. The soprano recorder provides an excellent vehicle for this purpose. In addition to being inexpensive (usually well under $10), the plastic models are virtually indestructible and have a pleasant tone. The recorder is an excellent pre-band instrument, but is also a serious instrument in its own right. Many of the classical composers wrote music for solo recorder and recorder consorts (ensembles). The recorder was especially popular during the Renaissance and Baroque periods of music history. The recorder is a simple instrument to learn and is suited to children even as young as nine years old if their fingers are long enough to cover the holes. Best of all, even a parent who doesn t read music can learn to play the recorder and teach her family. Over the years, I have taught dozens of parents and children to play the recorder. Typically, I meet with the parents for about one hour to get them started. This is the only class they take with me. Many of these parents have never read music before, but by the end of the class, they are confident that they can teach their children what they have been taught. After our class, the parents teach their children at home for about fifteen minutes each day. Within three weeks they are ready to 4

Introduction play a few pieces for friends and relatives and they typically do a nice job. Some of the students have gone on to play much more challenging recorder music. Others used it as a springboard to playing other instruments. They found that the music-reading skills they learned in those brief weeks carried over to the other instruments beautifully. The instructions are written as if you are teaching more than one child at the same time. You may find that you do not need as much structure to the lessons as I give here, especially if you are working with older children or those who already read music. I cover all of the material below in an hour with an adult class. This will likely be too much information for your younger children to absorb at once, so break it down into mini-lessons and have a bit of review each day before moving on to the next lesson. Feel free to adapt the lessons to meet the needs of your own family. Let s get started so you and your family can begin making beautiful music together. 5

Prior to the First Lesson Conductor. You will need a conductor a leader who will teach the family how to play and then keep them together as they play. Decide which parent will be the leader for this project. A person who already reads music is an asset, but anyone who is willing to learn the material in advance of the class can be the leader. It may even be that an older child will first learn to play herself and then will teach the rest of her family. If you do not read music yourself, or if you ve never played the recorder, I suggest that you go through the rest of this book yourself before teaching your children. I don t mean to just read it, but to actually play the exercises. Going over all of the material will allow you to see the big picture and to effectively lead your children when you do the first lesson with them. Carve out some in-service training time when you can work undisturbed (I hear you laughing, Mom!). Perhaps you and a friend can share childcare for a morning with each of you working alone on the recorder material while the other watches the children. Music. Each person will need a copy of the music printed on pages 28 31. Rehearsal basics for the conductor. These directions may seem a bit strict, and you may not need to follow them to the letter you know your family best. They were originally developed for teaching groups of children. Read through them and adapt them to your own family s learning style. 6

Prior to the First Lesson Require your children to leave their recorders in their laps until told to play. When you lift both hands to shoulder level to conduct them, they lift their recorders to their mouths. They do not begin playing until you count One-two-three-four and then bring your hand down to show the first note. They stop playing when you circle both hands to the center and squeeze your hands shut (the cut off). This is the same principle as learning where the brakes are on a car before learning to drive it you want to be able to stop the music. Recorders. Each person will need a soprano recorder. We start students on soprano recorders because they are best-suited to small hands, are least expensive, and are easiest to learn. Students can easily change to the larger alto, tenor, and bass recorders in the future, if desired. First lesson music. Each person will need a copy of the music printed in this ebook (pages 28 31) With the purchase of this book, you are granted permission to make as many copies of the music as needed for your own family. Music stand. It is important that students sit up tall when playing the recorder. Poor posture makes it difficult to attain proper breath support. One way to be sure your children are sitting tall as they play is to provide a way to stand the music up. If it is lying flat in their laps or on a table, they will hunch over to read it. Folding music stands are available online or at a music store, but here are some other options to keep your costs down. If you have a piano, lean the book against its music rack; this allows several 7

Prior to the First Lesson to play from one set of music together. Propping the music up on a windowsill or against a pile of books on a table also works. Another option, best for just one or two students at a time, is a collapsible pressboard music stand made to sit on a tabletop. See Resources for a good source or use your creativity to find a way to stand the music up. Method Book. Since families will soon tire of playing just the music I ve included in this introductory book, I suggest that you purchase a method book, as well. A method book is a selfteaching book that gradually introduces new notes and songs. Method books, along with recorders, may be purchased at a local music store or online. Remember that it is both unethical and illegal to make copies of copyrighted music; musicians, like writers, need to support their families. See Resources at the end of this book for suggested titles. 8

Lesson One Introduction to the Recorder Your children will be anxious to begin playing their recorders, but there are a few things they should learn first. If you distribute their instruments first, it will be hard for them to concentrate on the rhythm concepts they will be trying to play their instruments instead of working with you. So I suggest that you work through the Teaching Rhythm section before giving them their recorders. Part A: Teaching Rhythm Explain that notes are written on a staff made up of five parallel lines and the four spaces between them. Any symbol found on the staff that has a round part (the note head) is a note. Point to Exercise 1. The more a note is altered, the less it is worth in terms of how long it is held. Note Heads The longest note we will be learning about is the whole note. It is an open round note head and is usually held for four beats. Point to the whole note at the end of Exercise 1. When you see a whole note, say whole note-four beats. The sound of four syllables helps you to hold it for four beats. If a stick (called a stem) is added to the side of a whole note, it becomes a half note and is held for two beats. Point to the third note in Exercise 1. When you see a Stems 9

Introduction to the Recorder half note, say half note. These two words convey the feel of two beats. If the round note head of a half note is colored in, it becomes a quarter note and is held for one beat. Point to the first note in Exercise 1. When you see a quarter note, say quarter. If a flag is added to a quarter note, OR if a beam connects the tops of two quarter notes, you have made eighth notes, each worth one-half beat. When you see two eighth notes, say two-eighths. Direct your students to Exercise 1. Eighth Notes Notice that there are vertical lines (barlines) separating the notes into measures. There are four beats in each measure in each of these exercises. Rhythmically say the note values of the music, clapping on each note. This helps everyone to get a feel for the rhythm before they start concentrating on fingering the notes. For notes that are held longer (half note and whole note), squeeze hands together to illustrate the longer note value even though the sound of the clap itself cannot be extended like the sound will be on the recorder when you blow for a longer time. Clap and chant the notes in Exercise 1 by saying the following words (children should be watching the music; the words here are for your reference only): 10

Introduction to the Recorder Quarter, quarter, half note Two-eighths, two-eighths, half note Quarter, quarter, quarter, quarter Whole-note-four-beats. We say whole-note-four-beats because the four words take four beats to say. We say half-note for each half note to feel the two beats that the half note denotes. We say two-eighths in the same amount of time as it takes to say quarter because one quarter note and two eighth notes each get one beat. Note: Those students who have played another instrument may wonder why we don t simply count one-two-three-four in each measure. Simply put, it is very confusing to young children to try to count to four and think about which number finger goes on each hole at the same time. I have found that, in the beginning lessons, using numbers only to represent finger numbers is much less confusing. Part B: Recorder Basics By this time, everyone is wondering if they ll ever get to play the recorders sitting out so enticingly. Before teaching any more information, you need to pass out their instruments with the instruction to leave them in their laps until the conductor (you!) directs them to play. Review the rules above in Rehearsal Basics for the Conductor (page 6) and then proceed. 11

Introduction to the Recorder Count to four, have them play a loud note for four beats, and then cut them off and lower your hands so they will stop playing and place their recorders in their laps. The first note they play will sound awful you will make sure of it by telling them that, ON CUE, they are to blow as hard as possible, being prepared to stop as soon as they see you cut them off (as above). Blowing hard will, of course, make a terrible squeak. The purposes in asking them to do this are three-fold: they will learn that they must blow softly to get a good tone, they will learn to stop on cue, and they will get noise-making out of their system. In every group of students, even adult students, there are always a few who want to blow their own horns. With recorders back on their laps, tell them you will now show them how to make music instead of noise from their recorders. Explain that the fingering on a recorder is not like it is for a piano or a violin in which each note has a different single finger. On the recorder, each note requires one or more different fingers in a special combination. If you wish, review the physics of sound grossly simplified, the longer the tube, the lower the pitch. If your fingers cover up all of the holes in the recorder, the air must pass through the entire length of the recorder before escaping, thus creating the lowest note possible on a recorder. If any holes are not covered, the air will escape at the highest possible hole, creating a higher pitch. Have your students place their left hand fingers on the holes closest to the mouthpiece. The thumb covers the thumbhole on the underside. The index finger (1), middle finger (2), and ring 12

Introduction to the Recorder finger (3) cover the first three holes. The little finger (4) rests on the body of the recorder and is not used. Nor is it waved in the air like a British granny drinking her tea. The right hand thumb does not have a hole to cover but rests on the underside to help balance the instrument. Some recorders have thumb rests for the right thumb. The index (1), middle (2), ring (3), and little (4) fingers all cover the remaining holes. Each time your students pick up their recorders, do a quick visual check to be sure they have the left hand closest to their mouths; it will take awhile for this to become a habit. The fingers should rest flat over the holes; the fingertips are not used in playing the recorder. Fingers not needed for producing a specific note should hover above their respective holes, not stand up on end like flagpoles! The mouthpiece should only go about ½-inch into the mouth and should be held between the lips, not the teeth. There should never be teeth marks on the mouthpiece. Have them place the left thumb over the thumb hole on the underside of the recorder and their first finger (index finger) over the hole closest to their mouth. This is the note B that they will learn in the next lesson, but that is not important for them to know now. Tell them to gently blow four times, starting them by counting and directing as you did before. They will have a much more pleasant tone quality this time. Now teach them some technique. When blowing to produce a note, use the tongue to make a Doo sound at the beginning of each note. It is much more precise than a Hoo sound and 13

Introduction to the Recorder keeps students from running out of air so quickly. Just touch the tongue to the roof of the mouth behind the teeth for each note. Try another measure of four quarter notes. Keep an eye on your students as they play. It is easy for them to become quite breathless, even after just a few minutes, and even get light-headed. Give frequent breaks, especially with children. Although all of the information in this book can be covered in an hour with adults and many upper elementary children, you may find that younger children or those with attention challenges will need to spread the lessons over several days. 14

Lesson Two Learning Your First Notes You know which pitch to play by noticing which line or space of the staff the note head sits on. In Exercise 1 the note labeled B sits on the third line from the bottom of the staff; that is, the line appears to run right through the round part of the note. In Exercise 2, the note labeled A sits in the second space (always count up from the bottom). In Exercise 3, the note labeled G sits on the second line. Each note has a specific fingering used to produce that note s sound. Note: If you have pianists in your family, point out that the fingers are numbered differently. For piano, the thumb is number 1 and the other fingers follow. For wind instruments, including the recorder, the thumb is called T or thumb and the index finger is number 1. The first note we will learn is B. Place the left thumb over the thumb hole on the underside of the recorder and place the index finger (1) over the hole closest to the mouthpiece. Check to be sure everyone is using her left hand. The next step is to hold the fingers for B in position on the recorder and chant the rhythm of Exercise 1 again. You will say the note values as you did before ( quarter, quarter, half note, etc.). 15

Learning Your First Notes Then you will say the name of the note, using that same rhythm and still holding the B fingers in position on the recorder. Say the word hold to denote extra beats as follows: B, B, B-hold B-B, B-B, B-hold B, B, B, B, B-hold-hold-hold. Remember that the B-B-, B-B in the second measure are eighth notes that will be twice as fast as the quarter notes. Now your children know both the rhythm and the fingering for their first piece. It is time to play it on their recorders. Teach them to bring their recorders to their mouths when you raise your hands to conduct. If this seems unduly structured or formal, just think of what a racket you could have if everyone played at will! As the conductor, you must let everyone know how fast the piece will be played (its tempo) and when to start and stop playing. Count One-two-three-four in the speed you want to set. Then bring your hand down to start them playing Exercise 1. Make sure they are playing the same rhythm they practiced earlier. If you have squeakers, remind them not to blow so hard. Also, remind them to form a D with their tongues as they play each note. Play Exercise 1 a few times until they can do it pretty 16

Learning Your First Notes successfully, each time stopping them by closing your hands so they end together. Be generous with your praise. You will teach two more notes, A and G, using the same procedure. Start by resting their instruments on their laps, followed by chanting the rhythm with the note values, then the note s letter name, and finally playing it. This may seem tedious, but it not only reinforces the names and values of the notes, but it allows some recovery time before playing their recorders again. It is amazing how quickly children become light-headed while learning to play. To play A, cover the thumb hole, and first and second left hand holes. Check to be sure they have their left hands closest to their mouths. Play Exercise 2. Remind your students to think the note values as they play. Finally, teach the note G using the above method of chanting the note values, note names while fingering the note on the recorder, and finally playing the exercise. To play G, cover the thumb hole, and finger holes 1, 2, and 3. Play Exercise 3. To show how much they have learned, have them learn to play Exercise 4 which uses all three notes. Follow the same procedure as before. Then celebrate their success. Play it for Daddy when he gets home. 17

Lesson Three Playing Songs You Know After all of these exercises, you finally know enough notes to play pieces you will recognize. Playing Melody Parts Your first song is Merrily We Roll Along, also known as Mary Had a Little Lamb. It is printed on page 30. Notice that there are two different staves of music bracketed together. Staves is the plural of staff, the five lines and four spaces upon which music is written. We will play the upper staff of each pair which is labeled 1; this is the melody or tune of the song. Later we will add Staff 2 which is the harmony part. For each song we will follow this sequence of steps: With recorders in their laps, students sing the words to the song. With recorders still in their laps, students sing the note values of the notes. Say one note value for each word or syllable of a word. For example, Mer-ri-ly would get three quarter notes (see music). So the first staff of Merrily would be Quarter-quarterquarter-quarter-quarter-quarter-half-note, Quarter-quarter-halfnote, quarter-quarter-half-note. Sing these note values using the tune of the music. Remind your children to read only the upper staff of each pair. 18

Playing Songs You Know TIP: It may be helpful to highlight the upper staves in one color and the lower staves in another color. Later, when you split them into two parts, you can tell one group to play the yellow lines while the other plays the pink lines, for example. Next the students will sing the finger numbers, in this case beginning 1-2-3-2-1-1-1 (hold), 2-2-2 (hold), 1-1-1 (hold).., etc. Be sure they understand that when they say three, it means they are holding down three fingers plus the thumb, NOT just holding down their third finger. As they sing, tell them to finger the notes on their recorders which are still held in their laps. Next, students sing the note names. In this song they would sing, B-A-G-A-B-B-B-hold (because it s a half note), A-A-A-hold, B-B- B-hold..., etc. As they sing, they should again finger the notes on their recorders. Finally, play the song on the recorder. By now they have fingered the song silently at least twice, so their first effort at playing Merrily should be pretty recognizable. Play it again and invite them to applaud their efforts. Our next song is Hot Cross Buns. Teach it using the same sequence of steps as you did with Merrily. Again, have students play the upper staff of music for the melody. If your students are getting tired, let them rest while you play a selection of recorder music from the list of links on pages 26 27. Again, people tend to get a little breathless when first learning to play. Younger children may have had enough for today. If so, continue the rest tomorrow after reviewing what you learned today. 19

Playing Songs You Know Playing Harmony Parts Introduce low D. This would not be introduced to a young child in the early lessons, but some older children will be able to handle it, or you may just play this part while they play the melody parts on the upper staves. To play D, cover every hole except the farthest one from the mouthpiece. Your left hand will cover the thumb, first, second, and third holes as it does for G. Your right hand will cover first, second, and third holes. Only the right hand thumb and fourth fingers will not be covering a hole. We call this fingering 6 in the music, since six of the holes on the upper side of the recorder are covered. Check to be sure everyone s left hand is closest to the mouthpiece. I realize this seems redundant to mention, but it is amazing how easy it is to get mixed up at first. When playing any of the lower notes like D, let your jaw relax and play more softly. These lower notes can be tough to play, so be patient. Have everyone try the harmony part together, teaching it by saying the note values and note names while fingering the notes on the recorder. If you have some children who can play the D, they can do the harmony parts written for Merrily and Hot Cross Buns. Point out that both the rhythm and the notes on the harmony part are different from the melody part. Each player will have to follow 20

Playing Songs You Know the conductor to stay together and mind his own business so he doesn t get pulled into the other group s part. On Merrily, the challenge will be for the harmony players to hold the half notes for two beats since the melody players are playing quarter notes every beat. Remind them to think the note values as they play. TIP: You may find it easier to play Hot Cross Buns together first since everyone begins with quarter notes in the first measure. Divide your class into two groups. Rehearse the melody (1) group alone, followed by the harmony (2) group. Then try having both parts play together. It will probably take a few times, but be patient and have fun. A fun alternative is to have one group sing the melody while the other group plays the harmony part on their recorders. This seems to help them understand how it will all fit together. Congratulations! You have done what few parents think they can do. You have taught yourself and your children to read some music and to play the recorder. Practice these songs together until you can play them well for the friends and family. Consider purchasing a recorder method book to learn more notes and songs. Be sure to listen to some of the YouTube recordings for inspiration. Experiment to see if you can make your recorder have the same beautiful tone quality as the professionals in 21

Playing Songs You Know the videos by controlling how much air passes through the instrument. Check to see if there are recorder groups in your area; try to attend a concert. Some colleges that offer a music major will have faculty or student groups that play. But now you don t just have to be satisfied to listen to others play you can do it yourself. You have graduated from the status of music consumer to being a music producer. Well done! 22

Sources for Recorders and Recorder Music Buying a Recorder When you purchase your first soprano recorder, consider several things. If your children are very young and you re just trying things out, go for the indestructible plastic ones ($3-4 range). They re even available in bright colors so each child can recognize his own instrument. The well-made Aulos and Yamaha plastic recorders have a nice tone quality and are perfectly acceptable for family use if you re willing to pay a bit more. These are in the $5 10 price range at publication time. You will note that you have a choice between Baroque and German fingering. This is a matter of preference, but be sure that the method book you purchase includes the same fingering as your recorder. Personally, I use the Baroque fingering. If you become proficient and are playing lots of recorder music, consider a rosewood recorder. These are much more expensive than the plastic ones and require more care. Since they are made from wood, they are more sensitive to temperature and humidity changes don t leave them in a hot or cold car, for example. Be sure to swab them out after each use with the swab included with your recorder. 23

Sources for Recorders and Sources for Recorders 1. The Master s Recorder Course by Nick Filippeos. The Master s Publishing Company, P.O Box 104, Cobourg, Ontario, K9A 4K2, Canada: 1992. An excellent and unusually thorough recorder method book which includes some music theory and basic piano as related to the recorder. Written from a Christian perspective, most of the pieces are hymns. Chords are given for accompanying instruments such as guitar or piano. This book is usually not available in music stores, but you will occasionally see it at homeschool conferences or it may be ordered by mail. A CD is also available. It is also available at Joy Center of Learning s website here. 2. Recorder Time by Gerald and Sonya Burakoff. Sweet Pipes, Inc., 6722 Brentwood Stair, Ft. Worth, TX 76112. A good inexpensive method book often used in the public school. Most pieces are folk music. Available at some music stores or from Rhythm Band, Inc. Book available only as package with a recorder. Range from $5.30 for less expensive recorders to $10.70 for Aulos recorders. Sheetmusicplus.com $4.00 for book only; quantity discounts available. The Woodwind & Brasswind has it for $3.49. They carry a nice selection of recorders here. 24

Sources for Recorders and 3. Rhythm Band, Inc. is a major supplier of folk instruments for public schools, but they will ship to private individuals, also. They stock many recorders, books, and CDs. They also sell collapsible pressboard music stands for under $1.00. Ask for their catalog by calling 1-800-424-4724 or check out their web site at http://www.rhythmband.com. Their email is sales@rhythmband.com. Their mailing address is P.O. Box 126, Ft. Worth, TX 76101. Tip for parents of children with finger disabilities: The Rhythm Band catalog lists a recorder which divides into seven pieces. It can be customized for use by a child with as few as six usable digits, allowing a nearly full range of notes. 4. 8Notes.com. This online store is a treasure chest of free information. There are online games to practice various musical skills. There is free music for various instruments including the soprano recorder. 25

Listening Selections Listening Selections A tip: When searching for recorder music online, try soprano recorder or you will get instructions for recording on YouTube. Note: Although the sound quality is good, some of the videos were recorded with amateur equipment. Here is renowned flutist, James Galway, playing a duet with a sopranino (a higher version of the soprano recorder). Delightful! Click here. This four piece consort (recorder ensemble) features alto, tenor, bass, and greatbass recorders. Note the flute-like sound of the recorders. Also note that the final chord changes to a major chord, giving a brighter sound. Click here. Horacio Franco plays with amazing technique but the videos are poor quality. Try this one featuring Vivaldi s Recorder Concerto in D. Click here. Greensleeves (traditional English) is played by a consort of soprano and alto recorders here. Greensleeves is beautifully played as a solo on tenor recorder here. And just for a challenge, listen to this quartet s technique here. 26

Listening Selections Enjoy an amateur playing Bach s Toccata and Fugue in D Minor by clicking here. Here is a soprano recorder playing Rimsky-Korsakiov s Flight of the Bumblebee. Click here. A music teacher teaches you how to play Mary Had a Little Lamb on the recorder here. And, just for fun, check out Michala Petri playing the sopranino accompanied by pianist-clown Victor Borge. They play Czardas, a gypsy-themed piece originally written for violin. The link to this performance is here. Be sure to browse for more Victor Borge videos when you need a laugh. 27

Exercise 1 Quarter quarter half note two - eighths two - eighths half note quarter quarter quarter quarter whole-note-four-beats Exercise 2 Quarter quarter half note two - eighths two - eighths half note quarter quarter quarter quarter whole-note-four-beats 28

Exercise 3 Quarter quarter half note two - eighths two - eighths half note quarter quarter quarter quarter whole-note-four-beats Exercise 4 29

Merrily We Roll Along 1 1 2 3 2 1 1 1-2 2 2-1 1 1 - Mer - ri - ly we roll a - long, Roll a - long, Roll a - long 2 3-6 - 3-6 - 6-6 - 3-6 - 1 1 2 3 2 1 1 1-2 2 1 2 3 Mer - ri - ly we roll a - long, O er the deep blue sea. 2 3-6 - 3-6 - 6-6 - 3-30

1 2 Hot cross buns, Hot cross buns, Hot Cross Buns 1 2 3-1 2 3-3 - 6-3 - 6-6 - 6-3 - 6-1 2 3 3 3 3 2 2 2 2 1 2 3 - One-a-pen-ny, two-a-pen-ny, Hot cross buns. 3-6 - 6-6 - 3-6 - 3-31

Beethoven Who? Family Fun With Music Beethoven Who? Family Fun with Music brings great music into your home! Don t know Beethoven from Brahms? No problem! Can t read music? No problem! Music CDs too expensive? No problem! Who needs this book? People who don t read music (or who need a refresher) People who don t know much about classical music (or need a refresher) Private music instructors who want to supplement their students lessons Homeschoolers who are looking for a quality, inexpensive music appreciation course Anyone who enjoys music and wants to expand their understanding Beethoven Who shows you how to: Unlock the mysteries of musical notation. Grow comfortable using the vocabulary of music. Find appealing classical, traditional, folk, patriotic, and sacred music. Enjoy fun hands-on activities with your children as you explore music together. Tie in music with other subjects and interests. Share your music with others. All you need is this book and a computer with Internet access for hours of musical enjoyment with your family! Order your copy today from www.marciawashburn.com

Have a heart for music but no head for business? Transform your musical skills into extra income: Talent to Treasure shows you how! Marcia Washburn targets the woman who wants to share her love of music with others while continuing to serve her family at home. You will learn: ǾǾ How to prepare your heart and your home for your business ǾǾ How to recruit and retain students ǾǾ How much to charge for lessons (and how to be sure you get paid!) ǾǾ How to select a balanced diet of music for your students ǾǾ How and what to teach in the first lesson ǾǾ How to teach using learning styles how to be a people teacher first! ǾǾ Great practicing tips and strategies for dealing with students who don t! ǾǾ How to deal with memorization, performance jitters, and more ǾǾ Reaching and teaching special needs students from challenged to gifted ǾǾ And much, much more! A valuable resource for rookie and veteran teachers The appendices alone are worth the cost of the book: sample policy letters, analysis of favorite teaching music, and more. Marcia Washburn, BA, MME, is a seasoned piano teacher, writing with authority about a subject she knows intimately and loves passionately connecting people with music. Her warm and personable style immediately draws in the reader. Talent to Treasure is available at marciawashburn.com.