For piano students of all ages, I generally use the Piano Adventures series. There are many piano methods out there, and I’ve used others before, but this one has worked the best for most students, and there is a wide variety of supplemental music available at each level as well. I also sometimes use the Alfred’s Premier series and may suggest this or another series if I am teaching a pair of siblings and would prefer them to have different books.

For Young Beginners (ages 4-6)

My First Piano Adventure: Book A – This book is great for the youngest beginners (4 to 5 years old). It includes kid-friendly songs and activities, and is designed to be developmentally appropriate for young students. This book is entirely pre-reading, meaning that students focus on learning technique, finger numbers, the music alphabet, rhythms, and playing loudly and softly– all before learning to read notes on the staff. The companion Writing Book reinforces concepts and skills from the lesson book with fun activities and songs. After this book, students move on to My First Piano Adventure: book B.

My First Piano Adventure: Book B – The second book in this series, but I often start 5- to 7-year-olds in this book. It introduces note reading in an easy-to-follow way, and encourages students not to rely on finger numbers but to learn the notes instead. Students learn to read notes moving by step in the Treble and Bass Clefs, and the C 5-Finger Scale is introduced. The companion Writing Book reinforces concepts and skills from the lesson book with fun music theory activities and songs. After this book, some students will continue to the 3rd book in the My First Piano Adventure set (book C), while others will be ready to move directly into Piano Adventures: Level One.

My First Piano Adventure: Book C – The 3rd and last book in the young beginners series. I often skip this book with students 5 and older, but this is a great review for students who need a bit more practice before moving on to the books for older kids. The companion Writing Book is recommended as well. Students learn a few new notes in the Bass and Treble Clefs, and learn to read skips on the staff.

For Kids (ages 7-12)

In this series, each level contains several books. There are four main books in each level: Lesson (where new concepts are introduced), Technique and Artistry (exercises for developing good hand position and expressive playing), Performance (longer pieces that are fun and great for recitals), and Theory (workbook and practice of concepts). There are additional books available as well of more “fun” repertoire. This comprehensive approach helps to train well-rounded musicians.

Piano Adventures: Primer Level – This is a good beginning book for slightly older kids. It begins with pre-reading work– learning finger numbers and rhythms first, then the music alphabet, and then beginning note reading about half way through. Once note reading is introduced, it moves pretty quickly, so it’s important that students have established good practice habits by that point in order to not get frustrated.

Piano Adventures: Level 1 – Although it is called level 1, this book assumes that students already know basic rhythms and note reading. Students who have some previous piano or other music experience may be able to start in this book, but beginners should complete either the Primer level or some of the My First Piano Adventure books first.

After Level 1, students may continue to levels 2A, 2B, 3A, 3B, 4, and 5. Students are ready to begin playing some sonatinas and early-intermediate piano pieces around level 2B or 3, and a good selection of supplemental books is available for each level as well (Popular Songs, Kid Songs, Jazz and Blues, Rock, Hymns, and more).

For Older Beginners (ages 12-17)

Accelerated Piano Adventures: Book 1 – This series is designed for older beginners.  It moves more quickly than the regular Piano Adventures, so it’s important that students are committed to practicing regularly in order to make progress.  

For Adult Beginners

Adult Piano Adventures: Complete Book 1 – This is an all-in-one method (rather than multiple books) designed for adults, and includes classical themes as well as popular songs.  It moves more quickly and includes more chord-based playing than the kids’ books.  

 

In the groundbreaking book Mindset, Stanford University psychologist Carol Dweck, Ph.D., describes two ways of looking at the world: a fixed mindset, where we see skills and abilities as innate talents that can not be changed, and a growth mindset, where we see skills and abilities as changeable. People with a growth mindset tend to respond positively to challenges, seeing them as opportunities to learn and grow. People with a fixed mindset, on the other hand, have a hard time with challenges and take failures very personally because they interpret those events as proof that they are not smart/talented/etc.

How can you tell if you have a fixed mindset?  Do you see intelligence and talent as things that you are either born with or not?  Do you think that people are just who they are and no one really changes?  Do you avoid doing things you aren’t good at or putting yourself in situations where you might look foolish?

If you have a growth mindset, you likely enjoy the process of learning.  You know that failing doesn’t mean you should give up, and you see obstacles as opportunities.  You like trying new things, even if you’re not great at them right away, because you know that you can improve with effort.

I encounter these mindsets every day with my students.  Some of them love a challenge. Some students have a really hard time with criticism and take it very personally. As they learn to adopt more of a growth mindset toward their music, it becomes easier to see feedback as constructive and helpful. After all, knowing where there is room for improvement simply tells you what to work on! I emphasize that feedback is just information, and that we should take what is useful and let go of the rest.

Another way that I help my students develop a growth mindset is by praising effort rather than talent. I’ll say things like, “Wow, nice work! This is sounding really good!” rather than, “You have such a great voice!” This may seem counterintuitive at first, but let me explain– if I am only ever praised for my talent (i.e. you’re so smart/talented) then anything that suggests I might not actually be as talented as everyone thinks (i.e. a disappointing score or result) is going to feel much more painful and discouraging. When I learn to appreciate my growth and progress, it is easier to see challenges and failures as experiences that can be learned from.

I’ve seen these mindsets in my own life as well.  As a “smart kid,” I was praised for my intelligence a lot.  I did well in elementary school, but didn’t handle challenges or unexpected situations well at all, and it got worse as I got older.  Like many with a fixed mindset, I eventually settled into self-sabotage, since if I’m not REALLY trying my hardest, then I can cling to that rather than feeling the rejection of doing my best and still coming up short.  This mindset showed up in my singing as well, and I had a really hard time with criticism and rejection.  Each time I’d audition and not get the part, I’d feel like I just wasn’t good enough, and it was devastating.   I’ve come a long way since then, but this is still something that I am working on with myself as well as my students.   There is always room for improvement!  🙂

If you are reading this and realizing that you have a fixed mindset in certain areas of your life, don’t worry– it’s changeable!  There are lots of resources out there that can help.  If books are your thing, then I highly recommend Mindset by Carol Dweck.  You can also find videos online of several talks and interviews she has done on the topic, if that’s more your style.

(Trigger Warning: depression, suicide)

2018 began with the death of an old friend by suicide.  It was particularly devastating because he was one of the brightest and funniest talents I knew.  He had so many things going for him, and was deeply loved by so many, but then depression came along and swallowed him up.  I felt especially saddened by the wish that I’d made more of an effort to stay in touch over the years.  Then we lost Kate Spate, and then Anthony Bourdain.  And just before them was Scott Hutchison of the band Frightened Rabbit, whose album, The Winter of Mixed Drinks (2010), had gotten me through some of my own darkest times.  I found myself listening to those songs again, tears pouring down my face, wondering why so many of the most brilliant minds are so tormented.  And, more importantly, wondering what I can do to make a difference.

I’ve been doing a lot of personal growth work for the last 10 years or so.  If you knew me in college, I was, to put it nicely, kind of a mess.  I was in a lot of emotional pain that I didn’t know how to process, and that pain had become part of my identity.  But then, in 2006, I discovered that yoga helped with my back pain and helped me reconnect to my body, and that sent me down a new path.  I was finally able to quiet my anxious mind and really connect to myself.

Another life-saver during those dark times of mine was Julia Cameron’s book, The Artist’s Way.  It started me down a path of self-care and personal development, which continues to be a priority for me.  I began to see that I would still be myself if I let go of all the darkness I’d been carrying around, and that I could make simple changes to help myself feel better, one step at a time.

I’ve also learned that I’m a Highly Sensitive Person, which explained so many things that I thought were just weird quirks.  I’m just wired a little differently and my nervous system is more sensitive than most, so I get easily overwhelmed.  I am grateful to have found coping strategies that work for me, like meditation, yoga, and giving myself quiet time to decompress.  (I will be sharing more about these strategies in future posts– stay tuned!)

The more I have learned to take care of myself, the more I wish I’d learned these things sooner.  Why didn’t my fancy music school education teach me how to stay sane in the high-pressure life of a professional musician?  I certainly wasn’t the only one struggling under all the pressure.  Why are young singers still being told outdated and incorrect information about whether exercise is good for the voice?  Our bodies are our instruments, so why not learn how to properly care for them?  Fortunately, some schools are starting to include wellness skills as part of their music programs, but this is not yet the norm.

Everything I’ve been through has helped me find my true calling as a voice teacher: to help singers and other artists unlock their true selves and true voices.  I am creating an online community where singers at all levels can support and encourage each other on our paths to health and healing.  In the future, I also plan to offer retreats and workshops where the community can connect in-person and learn together.

I believe that it’s time for creatives to release the “tortured artist” ideal and start becoming whole, healthy performers.  I believe that we can create our best art when we choose a life full of purpose, joy, and creativity.

I can’t believe the summer is almost over!  I just wanted to write a super-quick post with a few updates for the 2018-19 school year.

I am currently accepting new students in Oakland (Holy Names University Preparatory Music) and Vallejo.

I am a vendor with Visions in Education, and students may use their vouchers for lessons in voice, piano, or both (at my Vallejo location).  I may also be offering a group voice class for beginning singers (TBD – depends on number and ages of singers interested).

Please contact me if you are interested in lessons or would like more information!

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I also have some exciting projects in the works!

Coming soon: online voice lessons, and more!

Singing is a complicated process involving many muscles, and training them to work together efficiently and effectively takes skill and practice.  Singing is muscle memory, and practice is key.  Sometimes results can be quick, and that’s great.  Sometimes it takes a while.

In kids’ voices, results depend on even more factors.  Kids’ bodies are smaller and more flexible than adults, which makes some things easier and others more difficult. Kids typically take longer than adults to get the hang of breathing for singing– expanding the belly on inhalation while keeping the shoulders relaxed.  This is a key piece of vocal technique, and just one example of something that kids take a little extra practice to master.  This doesn’t mean they shouldn’t try to learn it, it just means they’ll need to practice.

A kid’s voice will not naturally sound like an adult’s (there are some exceptions), and forcing an unnatural vocal tone adds tension and strain.  Kids’ voices can’t do what adults’ voices do, and we shouldn’t try to make them.  Learning healthy, age-appropriate singing technique can start students on a path of lifelong singing.  One of my main goals with young students is to undo any bad habits that might cause vocal strain or injury in the future.  Unfortunately, the vocal styles that are trendy in current pop music are not healthy to imitate, and singers who attempt without the proper technique can damage their vocal folds.

I also include solfege exercises in lessons to build musicianship skill. (Solfege, or Sol-Fa, or Solfeggio, are names for the syllables Do Re Mi Fa Sol La Ti Do.  These syllables are hugely helpful once students become fluent with them, which takes time and repetition.  Learning melodies on the solfege syllables incorporates music theory into singing, and reinforces musicianship skill and ear-training.

And last but certainly not least, music lessons build confidence.  Performing in front of peers and family builds confidence, and students may enjoy auditioning for other singing opportunities at school or in the community.  Voice lessons also help many students feel more poised and confident in public speaking.  One of my students was so shy in her first lesson that she would barely speak or make eye contact with me.  After only a few weeks, her parents had already noticed a difference in her confidence; now after 2 years she is a much more confident performer, and even had a large role in her school musical last year.

Finally, many young students choose to take lessons in both voice and piano.  This is a great option for motivated voice students and young beginners alike!  Piano skills are extremely useful for singers of all ages.

If you have questions about whether or not your child can benefit from music lessons, please ask!