Follow-up Review & Giveaway: Wendy Chan’s Teaching Resources from MusicEscapades.com

About a year ago (August 2020), I wrote a review and giveaway post about Wendy Chan’s wonderful Grand Staff Magnetic Dry-Erase board and a few other of her wonderful teaching resources. Well, today, I’m happy to share an update about her materials and offer a GIVEAWAY (keep reading)!
Wendy’s Grand Staff Magnetic Dry-Erase Board has been such a great resource in my teaching over the past year. I keep it within arm’s reach when I teach and find myself using it on a near-daily basis in my lessons, both online and in-person.

During her most recent restock, Wendy made a couple of improvements to her whiteboard and she generously mailed me one to review.
In the updated version, Wendy increased the thickness of both the magnet and the foam for the circle “note” magnets. In the picture below, you can see the comparison of the previous magnets compared to the new ones.

The new magnets stick well to the board and are a little bit easier to pick up. I love that Wendy is always interested in feedback and improving her products!

Learn more about Wendy’s Grand Staff Magnetic Dry-Erase Board by reading my previous review here or visiting Wendy’s website here.
Before I talk about the giveaway, I wanted to briefly mention that Wendy released a brand new product earlier this year: Rhythm Stories Music Rhythm Stick Notation Magnets. It’s a set of 38 rhythm stick notation magnetic cutouts, including dots and numbers to build 2/4, 3/4 and 4/4 time signatures. These durable foam magnets can stick to any steel/magnetic board and be used for a variety of rhythmic activities including rhythm dictation, composing activities, rhythm clapping, games, and more. In particular, Wendy says the rhythm/rest values introduced in “Rhythm Story” activities for all levels of the Music For Young Children (MYC) program. Learn more here.

Wendy is running a special sale for my readers. If you’d like to order any items from her shoppe, use the promo code CIMP15 for 15% off all orders. Or, use CIMP20 for 20% off for orders of $75 or more. All orders above $49 will ship free within US and Canada. This sale ends August 31, 2021. Be sure to visit Wendy’s shoppe here to check these items out for yourself!
Giveaway
And now it’s time for the giveaway! Wendy has generously offered to give away TWO products from the Music Escapades Shoppe for readers residing in the US and Canada! To enter the giveaway, leave a comment on this blog post before August 9, 2021 at midnight (Eastern time) sharing what you love about Wendy’s resources and why.
Two winners will be randomly chosen and notified by email the day following the giveaway. Good luck, and I look forward to reading your comments!

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TC250: Creative Piano Mashups with Rebecca Singerman-Knight

With COVID and lockdown, a lot of teachers and students have been faced with the challenge of learning online. Teachers, especially, have had to think of ways to make online lessons more fun and engaging.
In this episode, Rebecca Singerman-Knight, shares how she did this through her Lockdown Mashups activity with her students which has encouraged them to compose, sing, and play music that they really love.

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[02:37] Rebecca shares about her teaching and studio.
[04:02] She talks about her childhood piano lessons.
[06:16] How her teaching looked before she joined TopMusicPro membership.
[08:58] Pain points of teachers who join the membership.
[10:14] Coping during the time of lockdown with her students and working on Lockdown Mashups with them.
[20:29] Steps she took to do the Lockdown Mashups with her students.
[21:16] Resources and apps she used for checking her lessons.
[25:36] Rebecca shares the mashups of her students.
[38:52] Tailoring the activity for the students.
[40:30] Mashups and combinations she has up her sleeve at the moment.
[42:40] Teaching tips for teachers.
[45:55] How she came across the TMP community and how she uses it.
[52:26] Advice for teachers who want to join the membership.

Transcript of the show
If you’d like to download a PDF transcript of this episode, please click below.

Links & Resources Mentioned

Today’s Guest

Rebecca Singerman-Knight is a piano teacher based in Teddington, South West London. Rebecca worked in the corporate world for 15 years before leaving to set up her own private studio. She tailors her teaching to her students’ specific interests and provides a varied musical experience in her lessons. In this podcast episode she shares how she got creative with her lessons during lockdown doing piano mashups with her students.
Thank you for tuning in!
Consider implementing the ideas from this podcast by writing several actionable steps for your teaching practice if it’s inspired you.
If you enjoyed today’s show, please leave us a review on Apple Podcasts, which helps other teachers find our show.
Stay updated by subscribing to this show, and get automatic delivery to your device every time a new episode goes live! We publish on Fridays weekly.

Wednesday’s Words of Wisdom

“Learning is not the product of teaching. Learning is the product of the activity of learners.” John Holt (in How Children Learn)
This quote reminds us that learning does not automatically happen just because there is a teacher. Learning happens thanks to the activity of the learner. A healthy learning environment is learning-centered, not teaching-centered.
Points to ponder: As teachers, how can we facilitate and encourage environments that are conducive for learning? How can we help our learners be engaged in active learning during piano lessons? What can we do to set them up for success? And how can we support students with learning independently on their own during home practice?

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TEACHER FEATURE: Chad Twedt, Pianist, Teacher, & Composer

In today’s post, please enjoy an interesting and insightful interview with pianist and teacher Chad Twedt (pronounced “tweed”). I’ve known Chad for a number years, having connected online thanks to blogging. Chad’s blog, Cerebroom, is where he posts occasional in-depth articles about topics relating to music and more. Below, I ask him to share about his recently released online course called The Art of Rubato, his teaching philosophy, and his compositions, among other things.

Hi, Chad! Thanks so much for agreeing to this interview. Would you begin by telling us a little bit about you and how you got into teaching?

Thanks Joy, I’m honored!  
I have a master’s degree in piano performance and a bachelor’s degree in mathematics. I love composing, performing, teaching, thinking/researching, watching movies, writing, coding, and playing tennis.
In high school, people used to ask me the dreaded question that almost no high schooler can answer: “What do you think you’ll be doing 10 years from now?”  I used to answer, “I don’t know… the only thing I know for sure is that I’m not going to be a teacher.”  I said this because the only people I saw teaching were public school teachers who, in my view, had a difficult job – sometimes horrifically difficult, dealing with kids in every class who didn’t really want to be there.  I also hadn’t met any male private piano teachers. Becoming a piano teacher wasn’t even on my radar.
I started teaching in 1997 reluctantly when a 10-year-old kid who sat in the front row in my undergraduate junior recital begged to take lessons from me.  I told his parents that I was a performer, not a teacher.  He apparently really wanted to study with me, because they called me back the next day and pleaded with me again to give it a try.  I agreed, and I was nervous I’d run out of things to say after the first 10 minutes.  The opposite happened – I felt like each 30-minute lesson was way too short.  Unfortunately, the kid never practiced.  His parents later told me he idolized me and just wanted to be around me, so he only lasted a month as a student, but it was enough for me to realize that teaching piano was something I was good at and deeply interested in.  I felt I owed it to myself to explore it some more.  Fast forward 20+ years, and here I am!
As a piano teacher, what are your goals for your students? 
In each lesson, I am obsessively focused on preparing students to practice effectively at home.  This obsession increased tenfold after I did a ton of research into metacognition, which is the idea of “thinking about thinking.”  It is what allows students to plan a practice/study strategy, monitor that strategy, and evaluate the success of that strategy, rather than just mindlessly seeking pleasure, producing minimal results.  Students of all ages, especially adults, naturally exhibit metacognitive knowledge and skill when they study for academic tests, but they tend to be far less mindful when practicing piano.

I also strive to make sure that my students are comfortable performing for others from memory.  I think this is one of my biggest strengths as a teacher.  To some teachers this might sound like a pretty standard teaching goal to have, but over the past decade or so, the trend has been to push more and more for emphasis on sight-reading rather than memorization. This is a subject that I’ve looked into a lot, both in terms of psychology as well as benefits/drawbacks of memorization-oriented learning vs. sight-reading learning in my preparation threshold and memorization vs sight-reading articles (not to mention the practical side of it which I discuss here).  The pedagogical arguments I’ve seen in articles, presentations and forum discussions advocating for more emphasis on sight-reading and less emphasis on memorization are not convincing to me.
What is unique about your teaching approach? 
Probably most unique is my obsession in getting students to understand the “why” behind everything I’m having them do, down to the smallest detail.  Why put a dynamic peak in this or that spot?  Why choose one articulation pattern over another in some piece of Bach?  Why is one fingering objectively better than another?  Why put rubato here or there?  Why float the wrists between phrases?  Why, why, why?  I know that some students are emotionally content to just carry out orders without knowing why, but emotional satisfaction and intellectual preparedness are two different things.  Even students who are content to “play without understanding” will remember what they’re doing better when the “why” is generously shared with them, not to mention this knowledge will transfer far more effectively to pieces they learn in the future when they learn the “why” behind everything they do. 
As a student, I wasn’t disrespectful, but it really bothered me internally if I was ever asked to do something without knowing why… or even worse, when I was asked to do something that went against my internal senses.  Trying to get myself to follow instructions I didn’t fully understand felt to me like trying to run fast in one of those nightmares that takes place in slow motion.  Try as I might, my mind and body fight me.  I feel this obsession with “why” has been advantageous in teaching, because I know it causes me to break things down more than most do.
You recently released your first online course, called The Art of Rubato. Could you tell us about it?
Yes!  It is a six-hour video course that I published on Udemy, and it’s the only course in the world that exclusively teaches rubato at all, let alone in an organized, fully comprehensive manner.  In the course I identify four properties of rubato, four general purposes of rubato, five types (with many sub-types) of rubato, and three types of compound rubato.  I use over 140 audio excerpts of polished performances of standard repertoire – everything from intermediate to virtuoso repertoire, covering all eras of music from Bach to Barber.  I designed the course to be useful for any musician, from the intermediate piano student to the college music professor.  It’s also a course that any musician can take, not just pianists.  Rubato is rubato, no matter what instrument is performing it.

What led to your desire to delve into the art of rubato? 
Early in my teaching career when my first students started advancing to a level where rubato became more relevant, I became deeply frustrated by how little I explicitly understood about rubato.  I did some digging and was disappointed by what little I found in books and articles.  It was clear to me that even the experts were just winging it when they talked about rubato.  Everyone had their tips, tricks and bits of understanding about rubato that all made sense, but I couldn’t find any comprehensive framework that could be used to teach rubato to students (or to just wield as a performer).
Much like what I did with the Matrix movies and my crazy Matrix ReSolutions website (one of my contributions to humanity), this became a puzzle that I just had to solve.  I already listened to the 1200 piano CDs in my music collection all the time, but at that point I started listening specifically for rubato.  After a couple years of obsessing about it, I had formulated a system of analyzing, notating and teaching rubato that I started using with my students.
I thought that surely I couldn’t possibly be the first person over the course of the past couple hundred years to do what I had done.  I finally broke down and purchased a $100, 450-page textbook on the history of rubato called Stolen Time by Richard Hudson that I had been eyeballing for a while.  According to Hudson, some had tried but failed to develop a system of detailing the various properties, purposes, behaviors, etc. of rubato.  One pedagogue concluded it’s too personal for any “system” to be developed.  Having accomplished exactly this, I didn’t know whether to feel proud or confused!  Maybe a little of both!
How is your course useful to pianists and piano teachers? 
The course presents a system of analyzing, notating and teaching rubato that eludes us until we see it, after which it seems very intuitive and natural.  After taking the course, performers and teachers will feel extremely confident as they know why they use all the rubato they use.  It does not give them any kind of “formula” to “calculate” where to put rubato.  But it does give them a set of concepts, rules and guidelines (just like we have in traditional music theory and performance practice) so that they know “how to think” in the realm of rubato.  If you don’t have concrete, well-defined vocabulary and concepts to describe the various aspects of a musical phenomenon, then that phenomenon will forever remain in the realm of musical spiritualism and mystery rather than being assimilated into the realm of science and pedagogy.

Many teachers have told me that learning about rubato changed the way they hear music.  One teacher went to a symphony performance a while after hearing my presentation, and they told me that they found themselves listening to all of the music through this new “rubato lens” during the whole concert, calling the experience “enlightening.”
To quote myself from the course:  “Rubato that is felt is expressive, but rubato that is both felt and understood is more expressive.”
What was it like to create and publish your own video course through Udemy? 
It was a lot more work than I thought it would be!  The audio editing and photoshopping sheet music excerpts alone was a solid month of work.  Writing the script, creating the visuals, and then actually recording it and getting it right were all a huge undertaking.  But in the end, it was worth it.  I produced a high-quality course, not only in terms of the content but also in terms of presentation.
As for Udemy itself, I feel like Udemy does a great job trying to give instructors what they truly deserve as compensation for their work.  Udemy is run the way I’d probably want to run an online education business if I were to run one myself.  If someone buys my course by searching on Udemy, I keep 50%.  If someone buys my course through a link I provide, I keep 97%.  The 3% Udemy is making on that still works out to be a lot when you have 35 million users, so this business model is a win-win for everyone.  Clearly Udemy is not out to exploit those who provide content on their site.
In addition to performing and teaching, you are also a composer! Would you tell us about the compositions and other resources you offer on your blog? 

Sure!  My most recent composition was actually a commission from a very talented four-piano ensemble group called Piano 4te.  The piece is called Cosmosis, and you can hear it here, although the recording might be barely tolerable to some since it’s just a computer rendering from my music notation software.
Before that, I published Teacher Duets for Burgmuller’s 25 Easy and Progressive Studies, Op. 100 for a second piano, and that has been a popular item among teachers as it makes the Burgmüller pieces (a staple of our teaching repertoire) sound like sophisticated pieces of music for the concert stage. 
I also very recently published two Dragon Suites for solo piano (here and here), which are concert piano arrangements of video game music by Jordan Steven, similar to what has been done with the Final Fantasy video game soundtracks.  After I was asked to write the arrangements, I decided it would be a super interesting and exciting project since the original music is so far removed from typical piano music.  I think the pieces would be a super interesting contrast in a program full of Bach, Beethoven and Chopin.
My earliest compositions are the works from my Ostinato album:  Ostinato Suite No. 1, Ostinato Suite No. 2, 9/11 Portrait, and Life of a Rain Cloud.  You can hear audio samples of each of these on these pages.
Those who are interested in absurd arrangements might also be interested in my piece “Solfeggissimo.”  It is hardissimo to play.

I also offer a scale and arpeggio fingering card, which is a laminated, double-sided, 8.5×11 sheet that gives students fingerings of all 12 major scales and all 36 minor scales, all 24 major/minor arpeggios, dominant/diminished 7th arpeggios, several fingerings for the chromatic scale, and even chromatic thirds.  I grew tired of writing scale/arpeggio fingerings into students’ notebooks, and I believe scale/arpeggio “books” are a waste of money when I already give my students the theory background to figure out the notes of the scales I assign to them.  I also believe the scales are learned more quickly and retained more effectively when students figure out scales on their own.  Laminating of course isn’t cheap, so packs of 5 cards go for $20, but I’d rather have students get a $4 card with everything they need right there that will last their entire lives (and doubles as a handy sheet music bookmark) than have them buy a $10 book.
All of my stuff can be found at orangenote.io.
Do you have any other current projects?
Yes, in fact the majority of my “project time” over the past seven years has gone into the designing of MetaPractice, an app that will help teachers teach and help students practice based on a ton of research I did into metacognition.  I don’t want to say much about it at this point since it’s currently in private alpha testing while coders add the last remaining features, but I’ve been using it very successfully with my own kids for a couple months, and I’m extremely excited about its release.  It is designed for goal-oriented teachers who want their students to be goal-oriented when practicing.
At this very moment, now that I’ve completed my rubato video course (and while I wait for the coding of MetaPractice to be completed), I’m collaborating with the creator of mynoise.net to make a piano “soundscape,” which is fun as it involves a very different kind of musical writing, much more challenging than it would seem.
How can teachers learn more about your music, resources, and online course?
Anything of significance that I do in the future will be announced on my blog, Cerebroom, so that’s probably the best way to follow what’s going on.  Updates don’t go out very often (just when I have something very important to say), so Cerebroom subscriptions won’t flood anyone’s email boxes.  At my Udemy rubato course, there is a promotional video there as well as real sample videos from the course.
What else would you like us to know?
I’m the events coordinator for a local tennis club, running several different tennis events for men and women.  I can also create a large cavity between my hands and blow into a slit made by my thumbs to make the sound of a mourning dove.  
Thanks so much for chatting with us, Chad! It was great to hear about your new rubato course as well as your compositions and other projects!

Hello again, readers: Just wanted to tell you I completed Chad’s rubato course recently and I must echo what other teachers have said about it: I hear rubato in an all-new way and I’m pleased to have a more effective way to teach rubato to my students. I’d recommend The Art of Rubato course to any teacher interested in helping their intermediate and advancing students use rubato in a more deliberate and well-grounded manner in their playing. Check out this link to learn more!
Hope you enjoyed reading this Teacher Feature!
Links: 
Chad’s The Art of Rubato courseChad’s music blog:  CerebroomChad’s Matrix ReSolutions websiteChad’s Piano Studio websiteChad’s professional artist websiteChad’s general blog, Read TwedtA Facebook video of Chad performing

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Transitioning Back to In-Person Lessons During/After the Covid-19 Pandemic

[Just for fun…here’s a selfie taken after chopping off 12 inches of pandemic-time hair and donating it to Wigs 4 Kids!]
Hello readers!
I hope you all are well. Here in Michigan, we are in the midst of BEAUTIFUL summer weather and it feels as if the worst of the pandemic is behind us (which I would certainly like to believe is true!). The current full vaccination rate in the state of Michigan is 46%, which is also the current rate in the U.S. as a whole (as of June 2021). In my local county, the full vaccination rate is even higher at 60% and the rate of reported Covid-19 cases per day is down to low single digits.
With these facts in mind, I have started transitioning a few of my students from online lessons to in-person lessons at my home studio. (You might recall — 75% of my students are in Ohio from before I moved and they will remain online.) I am taking a number of precautions, because I would much prefer to err on the side of caution and keep everyone healthy if I can help it!
In case you happen to be in the same position and might find this useful, below is the wording I used to communicate my precautions and expectations to parents via email.

Hello students, 

I just wanted to send a note to let you know what to expect when it comes to precautions for our in-person lessons. Even though the Covid-19 rates are low in Michigan right now, I’d still like to play it safe and err on the side of caution. I am excited to be able to be back together in-person with my students, and I hope you are too! 

Just so you know: My husband and I have both been vaccinated, and so has my mother-in-law who sometimes watches our 16-month-old daughter. 

And here are the precautions we will take here at my in-home piano studio:
 
– Please ask your student to use the bathroom at home before leaving home. But if needed, the bathroom here will be available to students. 
– Anytime 5 minutes prior to the lesson start time, students may be sent to the front door where I will welcome them. I prefer parents don’t come indoors unless necessary, but we can chat on the porch before the lesson time starts if you’d like! During the lesson, parents are welcome to wait in the car or run errands. 
– An air purifier will run during the lesson time. Surfaces will be cleaned with antibacterial wipes between students. 
– When students enter, they should be wearing their mask (and I will be, too). Students will be asked to remove their shoes and wash their hands using hand sanitizer. We will use hand sanitizer again at the end of the lesson before I send them out to your vehicle. 
– Should the student (or anyone in the family) get sick or learn they were exposed to someone with Covid-19, please notify me. I would prefer to err on the side of caution and keep everyone as healthy as we can! And I am happy to accomodate an online lesson as needed for any weeks we decide not to meet in-person. 

Let me know if you have any questions or concerns as we go along. 

Thanks so much! 
Joy

For any and all studio communication, I think it’s important to use a friendly yet professional tone and use clear, concise language — and that’s what I tried to do in my email above!
In case you haven’t seen it, there is a helpful resource from MTNA (Music Teachers National Association) you might be interested in checking out as well: Legal FAQs for Reopening Music Studios.
PS: Stay tuned because tomorrow I will share a free printable poster for reminding students to remove their shoes, wash their hands, etc. when they arrive at your studio! Update: Visit this post to view the printable poster!

Your turn: How are lessons going in YOUR neck of the woods? Are you teaching online, in person, or both? I would love to hear from you! I’m sure we all have plenty we could share about our experiences over the past year or so.

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Printable: Welcome Poster for Piano Studio

In yesterday’s post, I talked about my gradual transition from online lessons to in-person for my Michigan-based students (my Ohio-based students from before my move will remain online). As promised, in today’s post I am sharing a free printable poster you can use to welcome students and help remind them of your protocols when they first arrive.
Any time students come for their first lesson at my studio, I find it’s important to “train” them, so to speak, with my expectations such as removing shoes, washing hands, etc.. After welcoming students at the door, this involves stating something like: “Whenever you arrive in the future, I’d like you to remove your shoes here, wash your hands here, and then head to the piano!”
I thought it might be useful to post a friendly poster with these reminders, in case it helps students remember what to do the first few times they arrive until it becomes a habit. I laminated it and use poster putty to hang it where it will be easily seen.
I created a few different variations of the poster, in case you might like to use it! I’ve included versions with and without masks (for pandemic times and non-pandemic times). And there are versions included for using hand sanitizer versus washing hands in a sink.

To download this PDF, visit the Printables > Studio Business page and scroll down to “Welcome Poster for Piano Studio.” Enjoy!
  Welcome Poster for Piano Studio (158.9 KiB, 165 hits)

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TC247: It’s Just a Paid position! with Rachel California king

Have you ever felt that sense of dread or burnout over teaching? Well, today’s member spotlight really shines a light on this feeling that we all have from time to time.
Rachel King had these negative feelings for quite a while but, thankfully, found a way out of it which is what she shares in this episode. She is now enjoying her teaching like never before.
I’m so thankful because Rachel really lets us into her life and how she’s feeling. She also shares the shift she made, how it came about, and the impact it has had on her teaching and students.

0:0000:34:54

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[03:34] Rachel shares an update on her current studio and students.
[04:36] Her feelings regarding her teaching before.
[07:29] What she did to make herself feel enthusiastic in teaching again.
[11:12] How she felt after her mindset change.
[12:23] The outcomes that happened after.
[14:13] The reaction of students to the change.
[15:53] Her new approach to teaching students.
[17:32] Feeling less anxious and frustrated about lessons.
[19:30] Rachel talks about liking her students better and students performing better after the change.
[20:00] The changes she saw in her relationship with money and the income that she’s making.
[20:58] Being able to stand firm on her studio policies and increasing rates because of her new mindset.
[24:29] Rachel’s response on emotional investment in teaching.
[27:54] How Rachel found out about TopMusicPro.
[30:33] Sharing how she justifies the investment she’s making at TMP.
[31:54] Future plans for her studio.

Transcript of the show
If you’d like to download a PDF transcript of this episode, please click below.

Today’s Guest

Today’s Sponsor

Newzik is a unique digital score platform that lets you work in real-time with other musicians. With over 100,000+ users, Newzik lets you organize your scores in a digital library accessible at all times, enrich your scores with multimedia files including YouTube videos, and most importantly share your scores and markings in real-time with your band, your students, or your entire orchestra. Newzik offers a free-forever option as well as affordable subscriptions with unlimited storage and extra features such as Maestria, the first Optical Music Recognition technology based on artificial intelligence, which lets you turn paper into interactive digital scores.
Thank you for tuning in!
Consider implementing the ideas from this podcast by writing several actionable steps for your teaching practice if it’s inspired you.
If you enjoyed today’s show, please leave us a review on Apple Podcasts, which helps other teachers find our show.
Stay updated by subscribing to this show, and get automatic delivery to your device every time a new episode goes live! We publish on Fridays weekly.

TC242: Understanding Dyslexia: How teaching language relates to teaching music with Becki Laurent

Did you know that 1 in 5 people in the USA have dyslexia? So, if you’ve got 20 students, the odds are pretty high that at least four are dyslexic. Therefore, understanding dyslexia is an important tool to have.
In today’s episode, Becki Laurent joins us to talk about how we can better reach our music students that struggle with this learning challenge.
We discuss myths, misconceptions and tips for teaching students with dyslexia. Becki also shares the components of the Orton Gillingham method of teaching reading and how we can incorporate these in music teaching.
It’s a super informative and interesting episode you won’t want to miss.

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[03:13] Becki shares how she got on the journey of teaching music to kids with dyslexia and ADHD.
[13:41] The conversation you need to have with your students’ parents.
[15:54] Top 5 Myths for teaching students with dyslexia.
[23:03] Understanding dyslexia and why rhythm is so important in teaching dyslexics.
[28:02] How using the process of teaching dyslexics can help any student become better. 
[34:42] Components of the Orton Gillingham teaching method and how we can apply it to music.
[43:19] Sample strategies you can use to teach students.
[51:02] Tips for making the process of learning fun for students.

Transcript of the show
If you’d like to download a PDF transcript of this episode, please click below.

Links Mentioned

About our Guest

Becki Laurent is the director of a music school in West Texas. Her superpowers include ADHD, listening, analyzing and getting things done. She doesn’t sleep much and can often be found on Facebook at all hours of the day and night in all the time zones of the world.
Today’s Sponsor

Are virtual lessons with ZOOM driving you MAD?Audio issues, trouble connecting?
RockOutLoud.LIVE is a virtual music lesson video platform made for music teachers who want to provide their students with the ultimate virtual music lesson experience. Inside the RockOutLoud.LIVE video application, you’ll have access to resources like sheet music searches of a library of songs along with chords you can share across screens to your students in real-time. Plus, your student can download their virtual lesson notes while inside the virtual session! It’s cheaper than your Zoom account and gives you all of the tools to teach in an interactive lesson. So what are you waiting for? Sign up for a FREE 7-day trial by visiting RockOutLoud.live today.

Thank you for tuning in!
Consider implementing the ideas from this podcast by writing several actionable steps for your teaching practice if it’s inspired you.
If you enjoyed today’s show, please leave us a review on Apple Podcasts, which helps other teachers find our show.
Stay updated by subscribing to this show, and get automatic delivery to your device every time a new episode goes live! We publish on Fridays weekly.