Special Introductory Offer on Carnival of the Animals Music Camp!

Carnival of the Animals Cover

For all of you who have been anxiously awaiting (probably me most of all!), I’m excited to announce that the Carnival of the Animals Classical Christian Music Camp curriculum package is finally complete and ready for delivery! This extensive curriculum has been in the works for many years at a conceptual level, so it’s been thrilling to watch it fully come together this week as we’ve given it a trial run in the studio. And from now through the end of July, you can get your downloadable package for only $20 (that’s $10 off the regular price of $30)!

I’m amazed at how much the students grasped as we incorporated history, geography, rhythm, technique, music vocabulary, composition, science, art, and performance into our camp activities each day. It will also be exciting to see how the seeds sown this week continue to bear fruit in the years to come as the students draw on the knowledge and understanding they’ve gained through this experience.

The curriculum is designed as a 5-day music camp curriculum, but could easily be adapted for almost any setting and schedule. It has enough material to last for weeks! Creative music teachers could even use it as a springboard to delve into many other areas of musical study more extensively. Read a full description and view sample pages on this page.

I hope that this Carnival of the Animals music camp curriculum will be a valuable resource to help teachers and students around the world experience the enjoyment and enrichment of learning more about God and the world in which we live through the study of music!

Check out photo highlights from each day of the camp:

Day One: http://musicmattersblog.com/2015/07/13/highlights-from-day-1-of-carnival-of-the-animals-music-camp/

Day Two: http://musicmattersblog.com/2015/07/14/highlights-from-day-2-of-the-carnival-of-the-animals-music-camp/

Day Three: http://musicmattersblog.com/2015/07/15/highlights-from-day-3-of-carnival-of-the-animals-music-camp/

Day Four: http://musicmattersblog.com/2015/07/18/highlights-from-day-4-of-carnival-of-the-animals-music-camp/

Day Five: http://musicmattersblog.com/2015/07/18/highlights-from-day-5-of-carnival-of-the-animals-music-camp/

Highlights from Day 5 of Carnival of the Animals Music Camp


Day 5 of our Carnival of the Animals music camp has arrived! We played the ever-popular Guess-It! game as a way of reviewing all that we’ve learned so far this week.

The Science of Sound today explores two remarkable instruments – the piano and the glass armonica.


Students use their music vocabulary knowledge to attempt to translate the meaning of Cristofori’s original name for his musical instrument invention: the gravicembalo col piano e forte.

Next everyone gets to take a turn trying to produce a tone similar to one on a glass armonica by rubbing their finger around the rim of a wine glass containing water.

Wrapping up a fun week for a crazy bunch!

Reviewing proper performance procedures before the parents arrive. These admittedly cheesy performance signs still seem to do the trick of helping students visualize and remember each aspect of their performance!

Let’s practice bowing!

The parents are here and we are ready to entertain them with our own original Carnival of the Animals! Each student has written a brief narration to introduce their composition (ala Ogden Nash) – love the clever creativity!


Levi plays The Shark


Elise plays Dancing Turtles


Daniel plays Spy Cheetah


Stephanie plays An Elephant’s Life


Claire plays Swan Lake

AMT Inspiration – Work Hard!

Several years ago I came across a quote in Tim Tebow’s biography, Through My Eyes, that I have oft-quoted during piano lessons with certain students:

“Hard work beats talent when talent doesn’t work hard.”

That is the heart of the message that I took away from the second installment of an article called “The Art of Possibility” by Steven Brundage in the June/July issue of American Music Teacher. He presents some fascinating quotes and research that address the ongoing debate of talent versus expert skill. Perhaps most fascinating is the experiment conducted by Laszlo Polgar with his three daughters to see if he could  train them to become expert chess players. His experiment produced incredible results, with all three daughters becoming world-renowned chess players.

Brundage goes on to observe:

“Most children, and adults for that matter, never dedicate themselves to skill development with the same deliberateness, methodology and guidance of child prodigies because, in most cases, they lack the opportunity, guidance or motivation.”

I was greatly encouraged by his recounting of numerous worthy achievements by men and women later in life who devoted themselves to the pursuit of various skills and then reached a high level of expertise (there is hope for us at any age if we apply ourselves and work hard!). His final paragraph includes this point:

“…there are those lacking talent who will achieve greatness because they possess more than the proper training and opportunity. They possess the burning fire of motivation and the determination to spend time and energy pursuing skill development without short cuts.”

This reminds me of a proverb that reveals the same truth:

“Do you see a man skillful in his work? He will stand before kinds; he will not stand before obscure men.” Proverbs 22:29

In a video our family recently watched by Dr. Jeff Myers, he issues a similar challenge to young people, noting that:

“Talent is distressingly common, but hard work is extremely rare.”

AMT Inspiration – Ask My Piano Students Better Questions

One of the perks of being an MTNA member is a subscription to their bi-monthly publication, American Music Teacher. I enjoy reading each issue and always take away some sort of inspiration for my teaching. Instead of keeping it to myself, I thought it would be fun to start a specific section here on Music Matters Blog to share some of the great thoughts and ideas with you!

In the April/May issue, Courtney Crappell, NCTM, in his regular column writes about the importance of “Fine Tuning Our Questions to Engage Modern Students.” He draws on the ability of a good story, especially a mystery, to capture our attention and engage our senses, and then encourages teachers to trade in our blase (“Did you practice this week?”) or generic (“What kind of piece is this?”) questions for ones that elicit more excitement and thoughtfulness (“How does this piece make you feel?”).

I can’t even begin to count the number of times I’ve asked such unproductive questions in my lessons, so this is especially challenging for me! He makes his case effectively, though, when he asserts that:

“Music lessons designed to promote discovery through effective questioning also serve as models for our students’ practice sessions. Their most productive practice sessions will include periods of thoughtful exploration rather than simple repetition of physical motions. The questions we ask in lessons will ideally become the questions they ask themselves in practice.”

And I love this perspective on  lessons as a whole and practice in particular:

“We need our music lessons and their practice sessions to feel as engaging as reading a good story. They must feel the need to solve the mystery and discover solutions for themselves, and if they do, we can feel confident that they will be hooked into lifelong learning.”

The wheels are spinning, and I’m excited to consider how I can become more of a storyteller who  effectively engages students in the thrill of discovery in their lessons and subsequent practicing!

New Piano Practice Incentive Theme – C2: Igniting the Power Within! – Save $5

We finished up a wonderful year of piano lessons and this year’s theme – C2: Igniting the Power Within! – was  ton of fun! C2 is designed to emphasize the equal importance of developing character and competence to be a successful musician. It incorporates a rating system for each assignment and the overall lesson attitude that is similar to those used in corporate settings to evaluate employees. The idea is for students to consistently look for ways to go above and beyond, taking ownership for their own development as musicians.

C2 is a practice incentive theme to integrate with any teaching method and approach. Because it emphasizes character and competence, students of all ages and levels can work at their own pace and experience great success! If you’re looking for something new and exciting to launch in your studio this fall, you can save $5 on your copy of the C2 practice incentive theme from now until the end of June. Just enter the coupon code SUMMER when you checkout to receive your discount.

I’m looking forward to an exciting summer and hope to be posting semi-regularly again. We’ll see how that goes! :-)

Want Students to Advance More Quickly and Have a More Solid Foundation?

Growing up my Dad always told me that “if it sounds too good to be true, it probably is.” That truism has served me well, but there are always a few exceptions. And this is one of them. It’s been a while since I first wrote about my foray into Piano Safari (ok, so it’s been a while since I wrote about much of anything!), but I love this method even more now than when I began using it!

Piano Safari Repertoire

I believe it is accomplishing exactly what its creators (Julie Knerr and Katie Fisher) intended – a solid foundation in the fundamentals of reading music notation while simultaneously developing fluency at the piano, thus enabling students to experience more musically interesting pieces sooner and advance to more challenging repertoire more quickly. All of my students who began with Level 1 have now moved into Level 2, and are doing a fabulous job!

Piano Safari Repertoire


Here’s a snapshot of Stephanie playing Flamingo Dancers. The crazy thing is that even though it is intended to be a rote learning piece, she was so anxious to learn it that she read the notes and figured it out on her own!

 Piano Safari Sight Reading and Rhythm Cards

The note reading skills are a combination of the NoteStars Challenge that I began with all my students in January and the fabulous Sight Reading and Rhythm Cards that are a part of the Piano Safari method.

Piano Safari Sight Reading and Rhythm Cards

The cards are very well sequenced and can be used in so many different ways to help students achieve mastery at reading music! (I’ve begun a Rhythm Masters Challenge that utilizes all three levels of the Piano Safari Sight Reading and Rhythm Cards that I’m hoping to write about soon!)

Piano Safari Technique Book

The accompanying Technique book is likewise a treasure trove of effective teaching exercises that are simple enough for the students to read and learn, enabling them to gain the technical skills necessary to play them well. Each one includes checkboxes to encourage transposition, and most of my students have no trouble easily switching from key to key (more than I can say for myself at their age!).

Piano Safari is not a magic pill that will make all of your students amazing pianists, but if you take the time to fully understand, appreciate, and implement this method (I definitely recommend watching the videos on the website, going through the Teacher Guides, and reading the Mini Essays!), I think you’ll be amazed at what your students are capable of at a young age. Not to mention how much they (and you!) will enjoy the process because of the musically rich pieces and experiences you will have along the way!

Disclaimer: I received a complimentary copy of Piano Safari Level 2 for review purposes, but received no other compensation. The views expressed above are my own.

Creativity on Heart and Soul

Have you ever had a student come into their lesson thrilled to show you the new song that their friend just taught them? Only to discover that it’s at the top of every piano teacher’s list of Most Disliked Songs? You know which one I’m talking about, don’t you? Yup. Heart and Soul. But, as much as you might want to plug your ears and scream the next time you hear it, the reality is that students love playing it! Plus, it can serve as the perfect tool for learning to improvise freely using the chord progression in it. In this video Claire demonstrates the Heart and Soul remix she came up with just for fun:

8 Things You Didn’t Know About Piano Technique – A Guest Post by Doug Hanvey

A Word from Natalie: Perhaps the most impactful thing I have learned in my years of playing and teaching piano is the importance of understanding and properly using the body to achieve artistic playing with the greatest ease. The three greatest catalysts of this in my own education were: my teacher and mentor, Sylvia Coats, attending a one-week Suzuki teacher training led by Doris Koppelman, and the fabulous workshops of Beth Grace on Beyond Scales and Hanon. I have experienced first-hand the immeasurable value of using proper technique when playing piano, and I have seen students (both my own, transfer students, and students I have taught in masterclass settings) suddenly accomplish musically or technically what they didn’t think was possible when I help them understand the basic principles of Gravity, Strength, and Conduction. So I am excited to host Doug Hanvey as a guest today because he touches on some of these issues that have been “game-changing” for me. I hope his points pique your interest and propel you to either begin or continue your journey to understanding the amazing design of the human body and how it can be maximally employed by you and your students to become excellent pianists!


1. Anatomy Is the Foundation of Technique

Seems like anatomy should be part of piano pedagogy, but did your musical mentors teach you much about it? Maybe you think of your body like a car – as long as it’s running, and a mechanic is only a phone call away, there’s no pressing need to understand how it works. While we “use” the body to play piano like we use a car to drive over to Aunt Edna’s, the body is not the same as a car. You are in command of your body’s movements to an infinitely greater degree than the mostly automated, mechanical motions of a car. And these movements are infinitely more complex than a car’s will ever be. A correct and thorough understanding of how your body works to play piano can only be to your advantage.

2. Your Body Does Not Control How You Play

Every piano player has a “body map,” an internal representation of the body that is used to determine how you move to play. Strictly speaking, it is your body map, not your body, that determines your movements. Unfortunately, a body map may be inaccurate or even outdated. But just as the explorers who followed Columbus made ever more accurate maps of the New World, we can make a more accurate body map based on our understanding of anatomy suffused with an inclusive awareness of the body.

3. Concentration Can Impede Healthy Technique

The concentration demanded of pianists can contribute to unhealthy technique. Concentration is one-pointed attention. When we are concentrated – for example, on the music in front of us – we may be less than fully aware (or not aware at all) of our body, breathing, and movements. This doesn’t mean you should stop concentrating, but consider the value of bringing more awareness of the body and its movements into each moment of playing.

4. You Should “Map” the Whole Body

You should understand, feel, and “map” your whole body, not just the arms and hands. For example, the arms and hands aren’t separate from the spine, which bears so much of the body’s weight and is directly relevant to technique. (Interestingly, it is the front part of the spine, closest to the center of the body, that is the weight-bearing part, not the bony structure running down the back that we usually think of as the spine.) By becoming aware of the support provided by the spine we can enhance the efficient movement of the arms and hands.

5. Balance Is More Important Than Posture

If you feel like it takes a lot of effort to sit up straight, you may not be in balance. When you are balanced your skeleton supports your posture with minimal effort required. If you are out of balance, you are probably using muscular effort to maintain your posture, which can lead to chronic tension and contaminate efficient movement in other parts of the body.

6. Resolving Neck Tension Is Vital

Most people these days carry unnecessary neck tension. (As I type this I’m well aware that I’m one of them.) Neck tension can be particularly detrimental for pianists. It can hinder arm movement and even inhibit healthy nerve impulses to the arms. A relaxed neck helps us play with a freer motion and supports optimal balance (see above). If you carry habitual neck tension, do what you can to resolve it so it doesn’t affect your playing in the long term.

7. Bench Height Is More Important Than You Thought

An optimal bench height keeps your elbows on about the same level as the tops of the white keys, giving you the best mechanical advantage for playing. Many, if not most, benches are too low for most people.

8. Your Fingers are Not Attached to Your Hands

If I asked you where your fingers begin, you would probably point to your knuckles. But the fingers are actually attached to the wrist! Try moving your fingers right now and see if you can feel this for yourself. (This is an example of what is involved in developing an accurate body map.)

To learn more about anatomy and body mapping, check out Thomas Mark’s What Every Pianist Needs To Know About the Body. Mark’s book contains valuable information for piano teachers, pianists who want to develop the best possible technique, pianists who have been injured, and pianists who want to avoid injury – meaning just about everyone that plays the piano.


Doug Hanvey offers piano lessons in Portland, OR. He writes educational articles for piano students and piano teachers on his studio website’s blog, which can be found at the above link.

Note Categories – A Music Note Identification Game

After getting a good start on our NoteStars challenge, I also assigned every student the Note Categories game.


This game is very simple, but definitely challenging for students. I use one of each letter name scale block and time the student as they go through the set of student music note flashcards, placing each one below the corresponding scale block.


Like the NoteStars challenge, I started by timing the students according to each level, but they all quickly moved into using the whole deck of cards. Unlike NoteStars, students only have to identify the name of the note, so that adds a nice variety while still building an essential understanding of the music staff.

Free Printable Music Note Name Worksheet – with a sweet bonus!

The great folks over at MakingMusicFun.net recently linked to a simple, but fun music note name challenge and worksheet. It’s called the M&M Note Name Challenge. I have more than a couple of sugar-holics in my studio (a.k.a. my children!) who would eat this up. Literally. 😛 I might have to give it a try at our next group class!