The First Lesson

by Nancy L. Ostromencki
Tucson, AZ  USA

The First Lesson for the Student New to Piano

I view the first lesson with the student as an "interview-mini lesson." It's something of a "let’s meet and make sure all the personalities work" session, combined with a basic introduction to the piano.  I begin the official ‘first lesson’ after meeting the student and parents, discussing the studio policy, exploring the expectations of the parents and student and sketching for them what my expectations for students in my studio are. This discussion helps assure that there will be a good fit between my goals and expectations and those of the parents and student. If I conclude that there is too great a gap between what I feel is necessary to teach successfully and what the student and parents are willing to accept, I will tactfully suggest that another teacher may be better and will provide recommendations for possible teachers.

Once we get through these basic items, I introduce the student to the piano, typically incorporating the following ideas and activities: 

 1.  We will discuss the three "geographic" locations on the piano; high, low and middle.  I will ask the student to play any key they wish in the high part of the piano, and so forth with the other remaining geographic locations.   

2. Following that, we talk about how the piano keyboard can be divided into groups of two and three black keys.  Then, I ask the student to play a group of two black keys at the high part of the piano, the low part of the piano and the middle of the piano.  We then go through the same process with the groups of three black keys on the piano.  I do not specify exact finger numbers to be used on these keys. I let the student decide for themselves what finger numbers they would like to use.    

3.  After that discussion, we move on to talking about the names of the notes, using the groups of two and three black keys as points of reference to find the notes.  For example, taking the group of two black keys, we find all of the C’s on the piano.  I again allow the student to use whatever finger number they wish.  We follow suit with the notes, E and D.  

 4.  Using the groups of three black keys, we discuss the notes F and B - at the bottom and top of the three black keys, and then I ask the student to find and play all the F’s, all the B’s on the piano, again, without specifying a finger number. However, I sometimes request that a student find an F at the highest part of the piano, a B at the lowest part of the piano, and so forth. 

5.  Using the groups of three black keys, we discuss the notes G and A on the piano. I usually have students play them simultaneously.  They get a kick out of making ‘a sound.’   

6.  At this point, I talk about finger numbers. I indicate to the student that, if the music has a number 2 written  above or below it, the composer or editor is strongly  urging the student to use that specific finger on that specific note.   I avoid at all costs creating the concept that a certain finger number means a specific note.  I have the student find all of the notes, C ( for example) playing the note with finger 2, then finding all of the notes called C again, using finger 5.  I am careful not to let the student lock on to the idea that finger numbers denote the names and/or locations of notes on the keyboard.  

7.  While the student is finding, for example, the note C with finger 2, I ask them to keep the other fingers OFF the adjacent keys.  I ask them specifically NOT to keep the fingers that are not playing on the keys.  I avoid introducing the concept of position playing. I avoid at all costs the concept that if finger 2 happens to be playing the note ‘E,’ that finger 3 will automatically be playing the note F.  

8.  The last thing we will cover about piano geography is the musical alphabet: ABCDEFG.  I have the student start on the lowest note on the piano, which is usually an A, and we go up the piano saying the name of each note.  After about 1 octave, the student usually discovers, to their delight, that the notes do indeed repeat themselves as you go up and down  the keyboard.   It is usually on the second lesson that we start also to go down the keyboard saying the names of the notes aloud.   

9.  I always have a stack of counting flash cards available.  We discuss quarter notes, identify them, and then we clap the cards aloud, saying "quarter, quarter, quarter."  Students usually catch on to that in about 10 seconds.  After that, we discover half notes and quarter rests.  They are individually written on 3x5 index cards.  We mix them up, then put them in sequence. Generally, the student has a pretty fair grasp of the difference between quarter notes, half notes, and quarter rests by the time they are finished.   

Often, the student and the parents are a little surprised by how much they have gleaned during this first mini-lesson.  I write down all the information on a piece of paper, so that the student has something in their hands to take home and practice even before the first ‘official’ lesson with books begins. At this point, I give to the parent and/or student the recommendation of music that they should purchase.  Since I am not a "method" teacher, the music I  recommend from one student to the next will vary, as the learning style of each student differs.  However, I never utilize any books that support the concept of position playing or playing by numbers, rather than learning to read the names of the notes.  I teach an interval recognition and note reading approach to the beginning student. 

I do not charge for this first mini-lesson/interview.  Before we all officially make a commitment, I urge all parties involved to think about it, read the studio policy carefully and discuss the entire concept of lessons. Not only is this a commitment of money for the student, but also one of time for lessons and practice and time for the teacher. I usually request that, if they are still interested, they give me a call within a day or two, and then lesson schedules can be discussed.   

The First Lesson for the Transfer Student

Often during the initial phone conversation with the prospective transfer student, the parent or the student themselves will let you know the length of their previous study of piano.  They will also typically let you know how long it has been since their last lesson. I usually ask what books have been used during the previous study of piano.  I can get a lot of information without even seeing the student, if I know what materials and books they have studied prior to their commencement of lessons with me. 

I set up the initial session with much the same ‘mind-set’ as for the initial session for the beginning student. I will have requested that the transfer student bring some of the books they have used in the past, and let them know that I really would like to hear them play just a little something for me.  It is a scary idea for them to have to play for a total stranger.   Before they even begin a piece of music for me, I let them know that I do not care if they happen to play a wrong note or two. I just need to see how their fingers work on the piano.   

Once we get past that, I will take out a piece of music that I have on the piano.  I will ask them to identify things such as: specific names of notes, what the time signature means, what the key signature signifies, what a repeat sign is all about.  If they come up blank, I let them know that is not an issue. I am just trying to find out where they are in the musical scheme of things. 

If the student is a bit more advanced, we might talk about what technical work they have done in the past, what ensemble work they have done, and if it looks like they could manage it, I try to have them do a bit of sight reading.  However, that can be really frightening.  So, if it looks like it will create too much tension, I skip over it.  

With the transfer student, I ask them about their past performance experiences.  We discuss the repertoire that we might be studying, and generally take a bit of time to make sure that the expectations of teacher and student are clearly defined.   Included in this discussion of expectations would be: practice time,  repertoire, performance opportunities, theory, and chamber music/ensemble music experience.   

Again, after this initial meeting/mini lesson, I request that all of us take a day or two to think about it, discuss it and come to a decision. After everyone has had a chance to think about it, we connect via phone and take it from there.   I refuse to discuss lesson fees in front of the student.   I feel that it is something between the financially responsible party and myself.  I discuss the lesson rates with the financially responsible parties prior to the first meeting/mini lesson.

After the initial mini-lesson with the transfer student,  I will use the time to come up with music suggestions for the student to get before the actual first ‘official’ lesson does begin.  They then come to the first lesson, either with the new music, or if we decide to stay on the same musical path, with their previous books.

The Adult Student

When conducting the first interview/mini-lesson with the prospective new adult student, I generally go through much the same material as I would for a younger student.   The biggest and most obvious difference is that an adult can usually comprehend the concepts a lot faster.   

We cover the geographic sections of the piano.  We discuss and quickly play the groups of two and three black keys, and proceed with the concept that one can use the groups of two and three black keys to find easily and quickly the “white” keys on the piano.  Very often, I will have the student look at something else instead of the keyboard.  We then find all the groups of two and three black keys, and while still looking elsewhere, use the anchors of the groups of black keys to find the white keys. I discuss how important it is to be able to navigate around the piano keyboard without having to sneak that little peek at the piano to check the notes.   

I indicate exact names of the notes, without getting into note reading issues, per se.  One of the most important areas covered at the very start is the idea of NOT relating finger numbers to specific notes.  I will bring out music that I am currently studying and music for ‘beginners’ written by Schumann and Bach.  I make a big point of showing the adult student that one cannot play these pieces by reading the finger numbers only.  I let the student know that reading music is not an easy task, but reassure them that they can learn to do it.  I explain the technique of note reading both from the standpoint of seeing intervals and by recognizing and playing correctly specific notes on the piano.  I refuse even to acknowledge the concept of "position playing" and avoid, at all costs, playing by numbers. 

Counting is not ignored at this first mini-lesson.  The adult student can usually very easily grasp the identification of  quarter notes and rests, half notes and rests, eighth notes and rests, and time signatures.  We do not really play music on the piano to deal with the rhythmic issues. Rather, we approach it as a math exercise.  It usually works. 

We then discuss the concept of practice time, lesson time, and adult-student-only Piano Parties.  I try to make sure that their expectations meet the reality of their unique situations.  Very often, it is at that point that the idea of alternate week lessons can come into play.  Since most adult students are studying piano by choice and for a positive experience, one needs to verify with the student the importance of  practice - how much they can realistically do, and then gear the lessons to that. 

For the adult transfer student, a lot can be learned by their first phone conversation with me.  Those who did have a solid background in their previous musical studies will find that it comes back again.  If I find out that they have been taking lessons quite recently, I ask them which books they have been using.  I say nothing negative on the phone to the prospective student, if it turns out that they have been using a “position” playing method book, or a “play by number” method book. 

I request that they bring in music that they might have studied previously, and if they wish, I invite them to play for me.  This can be a very terrifying experience for the adult transfer student, so if I see that it will create more negativity that it is worth, I don't press that issue. When the student does come in, I will ask them to play something from their method books.  After that, I will put something in front of them, like a Minuet by Leopold Mozart.  I ask them to identify certain musical terms such as the clefs and the dynamics, the names of some notes, identify how they might count the notes, and I ask the student to play one or two measures from the piece of music, either hands separately or hands together.    

If the student is locked into the playing by number or playing by position concepts, we talk about note reading and discuss backing up a bit and learning how to read music. I explain to them that it is not their fault at all, that many books have students playing tunes right away, and that that approach serves a purpose. I explain that note reading can be conquered and that we, together, can deal with it, but that it will take time, energy and patience.   

Some transfer students might gripe about having to shell out more money for the additional expense of new books, especially if they have been using method books that incorporate the position or play by numbers approach. In any event, whether it be for a new adult student or a transfer adult student, I always urge the student to go home, and think about whether taking lessons with me fits their needs.  I request that they give me a call in a few days, no matter if the answer is yes, or no. While both parties have that thinking time, I get listings of books organized to be able to suggest to the new student or the transfer student.  I urge them to get the music and have it with them when we begin our official first lesson.  Then the joy of teaching and learning can begin.