Jungle Expedition Practice Incentive Theme is Here!

We are wrapping up an exciting year of expeditioning at our studio, and we have had a blast! The students have loved traveling from hut to hut as part of Jungle Expedition: where mighty musicians survive, earning various privileges and treats. I’m impressed at how hard they’ve worked all year long to improve the consistency and quality of their practicing and to tackle Extra Endeavors (they’ve especially loved earning tickets for memorizing pieces and performing for friends!). It definitely makes the hard work of planning and conducting a practice incentive theme worth it when we can look back and see how far the students have come during the year!

We still have a few weeks of lessons left before we take a break or change things up for the summer, so most of the students are frantically collecting tickets and trying to get to one final hut before time runs out!

Piano Safari Level 3 is Here!

Rarely have I been so excited for a new music book to be released, but my students and I have been eagerly anticipating the completion of Piano Safari Level 3 for quite a while now! This piano method has completely transformed the way I teach piano, and I can’t imagine what I did before it was around. I’m looking forward to reviewing Level 3 here on Music Matters Blog soon!

Also, MTNA is offering a webinar by Piano Safari authors, Julie Knerr and Katie Fisher, this Friday on “The Role of Rote Teaching in the Development of Reading, Artistry, and Technique.” I’m sure this will be a treasure trove of teaching philosophies and tips, and is sure to invigorate your teaching!

Using Composition and Notation to Teach Music Theory

As I took piano lessons for years growing up, I always dutifully completed the obligatory theory lesson that correlated with the repertoire pages for the week (even if I was scrambling right before the lesson to get it done!). However, after 10 years of lessons I still had no idea how to identify what key I was playing in. There was a complete disconnect between what I was playing and the theory work I was doing. This dichotomy is the primary reason why I rarely use theory books with my students, especially at the lower levels. Instead, we spend a great deal of time discussing the underlying theory of each piece of music and lots of repetition to memorize what each term and symbol means.


The Psalms Project we do each spring provides a wonderful opportunity for students to solidify their theory knowledge as they compose and learn to notate their compositions.


Even though we eventually input all of the compositions into Finale on the computer, I require students to notate everything by hand first as part of the learning process. It’s fun watching their “aha” moments as various concepts (like the fact that since the key signature includes an F# they don’t have to notate sharps on each F throughout the piece) click!