Krista Lundblad graduated from Bethel University with degrees in piano performance and sacred music.  While at Bethel, she won first place in both the performance prize and concerto-aria competitions while studying under Carolyn Nordquist.  She played background music at a resort restaurant for five summers during that time. She took piano from Karen Carr-Otto for 9 years before studying under Mrs. Nordquist.  (Fun fact:  Mrs. Carr-Otto's piano teacher's teacher's teacher studied under the impressionist composer Claude Debussy.  Claude Debussy's teacher studied under the romantic composer Frederic Chopin.  That said, her students studied a lot of Chopin and Debussy works!

Since then, Mrs. Lundblad has enjoyed teaching piano lessons full time for the past twenty years.  She performs professionally at events such as weddings, banquets, benefits, and in churches around the Twin Cities. She also co-founded the Association of Professional Piano Instructors (APPI) with Sue Ruby and Kathy Smith, which strives to unite Twin Cities’ piano instructors and put on student events in the Metro Area.  She is currently a member of the Association of Professional Piano Instructors, Minnesota Music Teacher’s Association, and Music Teacher’s National Association. 

Mrs. Lundblad teaches in her home studio in North Branch and at Maranatha Christian Academy in Brooklyn Park, Minnesota, where she is also the Independent Instrumental Contractor Coordinator for the school. Current and past students have played in master classes, done well at competitions and other events, have played in musicals, performed Senior Recitals, and have been offered college piano scholarships, and have even majored in piano performance and began their own piano studios. Mrs. Lundblad also enjoys cooking, hiking, reading, and being outside with her husband and two sons.

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Teaching Style

• Teaching Style: I try to be very positive and encouraging in lessons, and will often do charts, games or practice contests with students. I often ask students questions to help them to come up with answers themselves.
  

• Expectations of practicing: I expect all students to practice their lesson assignment at home 5-7 days each week. I also like it if parents go over the assignment with their children at home once or twice to make sure they are practicing the correct pieces and are meeting all the goals we are setting in lessons.
  

• Instrumental Expectations: Students need to own an 88-key instrument with weighted keys and a pedal (minimum) in order to be able to practice at home.
  

• The Ultimate Goal: My ultimate goal is to “teach myself out of a job.” If I do my job in lessons, students will develop into proficient pianists who can pick up music and teach themselves to play it on their own with correct notes and rhythm. Beyond that, they will know how to play and interpret different styles of music differently, to research pieces that are new to them and have the discipline to do that independently. I love when students tell me they’re playing other music on the side or they found a new piece they were trying out at home. The more self-sufficient they are, the closer they are to the goal of making music on their own. When students grow up, I want them to remember their time in piano lessons fondly, and for them to have developed a genuine interest and love of music that carries into adulthood.
  

• Classical Training: I teach students how to read notes as they are learning to play the piano. I do some teaching of lead sheets and how to play melodies by ear so students can play on worship teams at church, when students are ready for that, but I mainly teach "classically." This means that I was trained primarily to play the main periods of music that relate to the piano: Baroque, Classical, Romantic, (Impressionistic), and 20th Century. If a person is trained “classically” they know how to read, play and interpret each of those periods. It can be compared to a sport such as gymnastics. A gymnast has to be proficient on the bar, beam, floor exercise and the vault in order to compete for any all-around awards at the Olympics. Similarly to that, a well-rounded pianist has to know that there is generally no pedal used in Baroque music, because pedals on the piano were not invented yet, and so on throughout the various musical time periods that relate to piano study. Students need to know how pianos changed throughout history and how those changes affected the music written in that time period and to be proficient musicians in interpreting music from each time period. (This is very helpful knowledge for serious musicians who plan to pursue piano in college, as well.)
  

• Chording: I believe that students should not only learn to read music, but should also learn how to play from guitar chord sheets, as some worship teams and bands play from these sheets only. Knowing how to do this is huge for if a student ever wants to play on a worship team at church, or in a band, and it leads to students being able to sing while playing the piano, or making up their own arrangements of songs. I ask older students if this is something they would like to learn, and it has become a favorite skill for many students.
  

• Making Mistakes: I allow and expect students make mistakes--even lots of them. It's the best way to learn. When a baby is learning to sit up, do their parents yell at them when they teeter and fall over? Of course not! Falling over is part of the process of learning balance and developing the child's muscles. Am I going to be hard on a student who makes a mistake the first time they sightread a new piece? Of course not! Making mistakes is essential to learning. Letting students play a wrong note helps them learn to listen and to figure out that something doesn't sound quite right. If a student is making a mistake such as playing one hand in the correct hand position and the other in the wrong spot, I like to see how long it takes them to realize that. (Of course, I will correct the mistake before the lesson is over, but I try not to over-correct.) I believe that allowing students to make mistakes is important in developing students' self-correction.
  

• Method Books and Beyond: Most students will learn from method books first to develop a strong musical foundation. When it seems like they are reading music well and have that foundation established, I start tailoring lessons to their individual needs. I tell them that we get to do “recital music” all the time. We pick out special pieces they like, and we make sure we are playing a balance of some of the standard literature and technique exercises as well. We often do a study on chording/worship music/playing by ear, as that helps develop a well-rounded musician who can play in different venues and styles. I’m all for adding “fun” books to lessons if it’s motivating to students, as well.
  

• A strong foundation: I feel like I can help students develop a strong pianistic foundation so students who work the hardest will be able to connect the dots from beginning piano concepts through intermediate literature to advanced literature and beyond. I would like to prepare students to try out for college piano scholarships, to play in church, to play at weddings, or to simply enjoy and respect the art of music-making, all while having an enjoyable time in lessons.
  

North Branch Piano Lesson Information

Lesson Times: Students register per academic school year. Weekly lessons are offered before during or after school on Mondays, Wednesdays, and Thursdays at my home for 30 minutes (beginner/intermediate), 45 minutes (intermediate/advanced), or 60 minutes (advanced.) Students must receive permission to sign up for 60-minute lessons. I often teach homeschoolers or PSEO students during the day. A summer session is offered, as well. The lesson times are arranged directly with the teacher.

Lesson Tuition: Approximately $110.00/month for 30-minute lessons, or $165.00/month for 45-minute lessons. This includes 28 private, two group piano lessons, and one recital.

Other Fees: A $40.00 annual registration fee is due at the time of registration and a $40.00 per child music account deposit fee is due at the time of registration, not to exceed $80.00/family. All books will be purchased for the student by the teacher and deducted from this fee.

Lesson Payment: Payment for lessons is done one of three ways: (1) Automated: A monthly electronic funds transfer from a checking account; 2) Semesterly (due on September 15th and January 15th); or 3) Yearly (due on September 15th).

Absences: If a student is to be absent, I need to be notified by 7:00 a.m. the day of the missed lesson on my cell phone. This is so I have enough time to ask another student to take that lesson time. I do not answer the phone during lessons, but I check messages often, and will usually receive the message in time. If I am not notified in advance, as in the case of a student forgetting his/her lesson, that lesson will not be made up.

Make up Lessons: Two make up lessons are added on the calendar to be used in the event of any missed school-year lessons. Any other lessons missed (more than two) will not be made up.

Instrument Needs: It is important that a student have a full-size (88-key, weighted, touch sensitive) piano, digital piano, or keyboard with a pedal for regular weekly practice. Students must have a full-size instrument in the home before lessons begin.

Parental Involvement: It is important that students have parents who are willing to: 1) help their children remember their piano books on their lesson day; 2) sit with them and review their lesson assignments weekly; and 3) encourage them to practice and play for others at home.

Summer Lessons: Students have the option of taking summer lessons for a 6-week session. The students who take summer lessons are given priority for fall lesson spots and times.

This is so we have enough time to contact another student to take your lesson spot for that day. It is not enough to contact the school office, because I work independently of the school. Teacher Absence--where the teacher is absent. These missed lessons will be made up. Missed make up lessons and missed group lessons will not be made up.

Other Expectations:

Music: Please help your child remember his/her music each week, as you receive much more value for your money when your child has their materials with them.

Coming to lessons: It is appreciated if students to come to their lesson at their specified time for those who are old enough to come on their own. If a student is late to his/her lesson, the time lost will not be credited toward another lesson. Students 6th grade and older will not be picked from their classroom as they are old enough to remember their lesson time. If students 6th grade and older do not show up for their lesson, the lesson will not be made up and will count as an unexcused absence.

Instrument Needs: It is important that a student have a full-size (88-key, weighted and touch-sensitive) piano, digital piano, or keyboard at home. Students must have this before they sign up for lessons. See the tab that says "Pianos vs. Keyboards" for more on this topic.

Parental Involvement: It is important that students have parents who are willing to: 1) help their children remember their piano books on their lesson day; 2) sit with them and review their lesson assignments weekly; and 3) encourage them to practice and play for others at home.

Summer Lessons: Students do have the option of taking summer lessons at MCA. The students who take summer lessons are given priority for fall lesson spots and times.

So, when you’re interviewing piano instructors, think about who you want coaching your child. This is a person who your child will be spending at least 30 minutes with one-on-one every week, possibly for years. Is this a person who will speak life into your child? Are they qualified to teach that instrument? What kind of degree or experience do they have? What is their specialty? What kind of music do they love to teach? Are they classically trained? Can they read music? Do they teach by ear? Can they teach how to play off of chord charts or lead sheets? Do they offer any recitals, festivals or competitions? Have you heard them play, and do they sound competent? What kind of reputation do they have in town? Have they ever had students who were offered music scholarships or majored in music or piano in college?

Basically, are you looking for a serious coach or recreational coach? Are you looking for one who is highly trained and specialized, or are you looking for someone who can kind of play piano, but is laid back and doesn’t seem to care if your child learns anything? What are you hoping your child gets out of lessons, and what are you willing to pay for? Sometimes the better coaches cost a lot more, but they can help your child get from “Point A to Point B” much more efficiently than a “recreational” coach, who may unknowingly be teaching them poor form or habits that could hinder students in the long run. It is important that you find a good fit in a coach for your child.

Parents are part of the coaching staff, too! Your child’s first coach is the piano instructor that you selected to train your child. In lessons, I tell my students that they are the “coach” of their fingers at home, and to think of their fingers as 10 “kids” they are in charge of for the rest of the week. Sometimes, their fingers may not want to play or practice, but that is normal, and they still need to tell their fingers that it’s time to work. If fingers can’t always do something correctly on the first try, and that’s fine; that is also a normal part of learning a skill. The student is to persevere and tell his/her fingers to keep trying until that particular skill is mastered.

But there is one more very important coach in your child’s life, and that is YOU. If parents or guardians are supportive of piano lessons not only financially, but also emotionally, and they express a genuine interest in what their child is learning, that child will likely take off in piano, no matter what natural ability they came with. If the parent is engaged, asks about lessons, and ensures that their child dedicate time to practicing every day that is just as regular as brushing their teeth, that child should achieve a measure of success in lessons. If a parent walks by their child and says, “That’s my favorite piece! Can you play it again?” (even if it is NOT their favorite piece), their child will likely play that piece for them again and again.

A piano instructor in a typical program will only train students once/week in lessons. Parents are the ones responsible for making sure their child has time to “train their fingers” in daily practice at home.

Time spent training: If you divided your child’s time into categories such as “school, academics/homework, sports, piano, church, other activities, etc.” how much of their time realistically could be dedicated to piano? If you have a child enrolled in a rigorous school which requires two hours of homework per night plus a traveling/club sport, who also loves video games/screens/social media, is it realistic to sign them up for piano lessons and expect them to be a prodigy, too? Take time to think about it…Does your child actually have time to practice daily at home?

If you made a pie chart of their time, how big of a slice of that pie are you able to carve out for practicing piano at home? If it’s a very small slice, it may be best to dedicate time to the activities that are already the larger slices, or cut one of those activities in order to prioritize piano lessons, as sometimes kids can become so overscheduled that they miss out on the opportunity to have large amounts of time dedicated to becoming good at anything.

I have had parents who enrolled their kids in lessons year after year, never practicing, often forgetting books, often losing their books, eventually ask me why their child was not playing Beethoven’s “Fur Elise” or Mozart’s “Rondo Alla Turka” yet. Well…think about it if you compare piano to being in sport. If you sign up and pay for a gym membership, even for years and years, does that automatically make you a fit person if you don't work out? If a student signs up for basketball, shows up for practices maybe once/week, only comes when it’s convenient, often with the wrong equipment, often loses their uniform and only plays when they “feel like it” while everyone else on the team is showing up consistently every day and working hard, does that parent have the right to expect that student to be a starter when they’re in high school? Should they really feel flabbergasted that their child didn’t make the cut for a high level team? If parents are signing their kids up for lessons, but expect them to learn that very specialized skill by simply paying for lessons but not expecting their child to work hard at home, it should not be surprising to them if their child does not appear to improve, even after years of lessons.

Technique/short nails: Did you know that most good piano instructors require students to have short nails because nails need to be short in order for students to play on the very tips of their fingers, so that they develop the correct muscles for good technique? If students show up with long nails, it is impossible for them to use the very muscles they need in order to play with agility and advance to higher levels. If students show up with long fingernails, it’s equivalent to a student showing up to track in high heels. One of the basic skills necessary to developing proper technique in this “sport” is keeping a student’s fingernails short. Really, it comes down to your coach. Some teachers will tolerate long nails, but the ones who are teaching proper technique and expecting “athleticism” navigating the keyboard will require nails to be short.

Complex things are going on! When a person learns an instrument, they are not only learning to read horizontally; they are learning to read horizontally and vertically through patterns at the same time. And they have to do very specific movements at a certain tempo (speed), often leaping for notes quickly. Did you know that piano keys are only about an inch wide each? And students can be expected to play several of them with different shapes that change often in perfect timing? Playing the piano is an amazing (and difficult!) skill when you think of all the things that need to go on in a precise manner in order to play a piece well.

I firmly believe that if a student plays piano well that it not only helps neural pathways develop between the two hemispheres of the brain (which is scientifically proven), but that it also helps improve students’ hand-eye coordination and body awareness. If you consider that a piano key is only about an inch wide and that good pianists are moving athletically back and forth, trying to strike specific keys in rapid succession at a certain dynamic range (pressure), often weighting each individual finger differently, within certain pre-determined specific timing at a specific tempo, it can be mind-blowing.

And there are 34 muscles in each hand, many of which are developed well through learning to play the piano. If you think toward your child’s future, think about they were to become a surgeon...or just think about surgeons or medical personnel in general. Would you want someone operating on you who is a “normal” person with normal hand development or one who had spent years developing and fine-tuning their small muscle groups in their hands? According to talk.collegeconfidential.com, “Music majors are the most likely group of college grads to be admitted to medical school. Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66 percent of music majors who applied to med school were admitted, the highest percentage of any group.” I believe that developing and fine-tuning the 34 specific muscles in the hand as well as character--developing perseverance and grit through music study for years, prepares students for the rigors in order to be able to succeed in medical school.

Sports, and piano, is for everyone: Playing piano is unique in that most people can continue to play the piano for years and years. In contrast, high contact sports may be played only through high school, college or young adulthood. By investing in a skill such as learning an instrument, students are learning a lifelong skill. With abilities, just as in sports, some kids come into lessons with a higher IQ, or a higher understanding of rhythm right from the start. Some kids are naturally agile at it from the start, whereas others may struggle. As a teacher, I would much rather work with a struggling student who works hard with a great attitude and supportive parents than a student who has natural ability but has a poor attitude and never practices with parents who blow off lessons. Often, the student who has struggled, learned to work hard and persevered through grit and determination stays in lessons longer and often ends up going farther.

Just as in sports, you get out of it what you put into it. And learning the skills of "grit" and being able to "do hard things" goes a long way in life.

One of my favorite insights on coaching came from a volleyball coach whose high school team had won at the state level. She said something to the effect of, “You want to know my secret? My secret is to not put all my time and energy into the star players. My secret was to let every player know that I believed in them, and that I expected them all to work hard. The secret was to believe that everyone could and was expected to be great. In putting effort and expectations on all the kids on my team, not just the best, that attitude caught on. Everyone believed they could succeed in volleyball, knew they would get playing time, and they all put in hard work all season because I had high expectations for all and believed in all of them. That way, if someone was sick, we weren’t worried that we’d lose the game because the person sick was our star player. Everyone was expected to be our star player, and we won state as a result.”

That is close to my philosophy as a piano instructor. I believe that everyone has something valuable to contribute and to learn, and that God has made them unique. Their time in lessons has a purpose…it’s up to us to discover where to go with that. Although I am classically trained with a performance degree, I love when students get older and can tell me what kind of music they enjoy playing and what they hope to do with it. If a student aspires to be on a worship team playing chord charts, I will teach them differently than a student who hopes to enter competitions each year and strive to major in music in college. And some students love piano so much they want to do it all! My main goal is for students to develop a love for playing…but the secret to developing that love is that it doesn’t always just happen and it's not always roses all the time; in fact, there are often many frustrating or painful seasons to persevere through along the way (just as in sports.) You, your child and your “piano coach” have to work as a team to put the hard work and discipline into it, and it will be very rewarding on the other side.

In the end, I believe that everyone can make meaningful music, whether on a professional or recreational level. The more students and parents begin to realize and treat piano lessons as a “sport of the small muscle groups”, the more return they will receive on their investment in lessons.

What is the best age to begin piano lessons?

There is no "best age" to start piano lessons. Rather, I use the following guidelines:

Age suggestion: Students are generally ready to begin lessons around the second or third grade. However, young beginner curriculum is available for the young, eager student.

My Criteria:

• Students should be able to tell their right hand from their left
  
• Students should understand the concepts of up and down
  
• They should be starting to read "easy" books
  
• Their attention span should be able to handle sitting and paying attention for 30 minutes (the length of lessons)
  
• It really helps if the student has the desire to take piano lessons!
  
• Students must own an instrument that sets them up for success--an acoustic piano or 88-key keyboard with weighted keys and a pedal.

• My opinion: I have started many beginning students in lessons over the years. Young beginners (around Kdg. or 1st grade) will typically do well in lessons, as long as they have a parent at home to sit with them and practice with them every night. I've found that if I start one student early (around Kindergarten) and another later (around 2nd grade), most people would think the Kindergartener would go the farthest in lessons. I have found the opposite is true. The student who begins in the second grade typically does better, and sticks with it longer.
  

• Momentum Theory: My theory is that it all boils down to momentum. Sure, a student can start piano lessons at an early age, and many well-meaning parents sign their kids up for piano lessons before they are truly ready to begin. However, the younger children progress slower than someone who starts in the 2nd or 3rd grade. Let's say the student in Kdg is going (in car terms) 20 miles per hour. They are getting steady progress done, but are going at a slow and steady pace. When a student starts later (2nd grade or so), they progress at 40 or 50 miles per hour. Piano is much more exciting for them, and it comes much more easily for them at that time. They get used to the "faster" pace, where the student who starts earlier gets used to the "slower" pace.
  

• In the End: I've found out that most students end up at the same level when they reach around the 4th or 5th grades, whether they started in Pre-K, Kdg, 1st, or 2nd grade. The interesting thing is that it doesn't stop there; the students don't just end up at the same level at that time. The students who are used to the "faster" pace tend to keep that kind of progress going, and the student used to the slower pace tend to keep that pace going. The students who started earlier seem to end up losing interest and quitting piano earlier, too.
  

• I tell other parents that I recommend children beginning piano lessons "later", as I know it can potentially save them money and stress in the long run. Starting when a child is ready (for the discipline and hard work that comes with learning any worthwhile skill) could help their children stick with it and develop a passion for music that lasts a lifetime.
  

Pianos vs. Keyboards--the ongoing debate:

Why your child needs an adequate instrument to practice on to be successful...and answers to common questions parents often have.

I have received many questions about students wanting to take piano lessons, but they do not own a piano or they want to learn on a keyboard. I want to address your questions in this article. This is my opinion, only, after years of experience working with students

The main goal I have with students taking piano lessons is to set them up for success! Would you send a student to basketball, but make them play in everyday shoes with a mini basketball, but then hope they will be the next NBA player? Would you send them to tennis and have them use ping pong paddles you happened to have at home, and tell them that if they decide they enjoy tennis using the ping pong paddles, you will upgrade to a tennis racquet later? Those things probably sound far-fetched...but that is what it's like to sign a student up for piano lessons with no piano to practice on.

To truly set a student up for success with piano lessons, they need an instrument to practice on at home...and not just any instrument--a good one! This is because when they commit to piano lessons, they are expected to commit to practicing 4-7 days/week at home. They have to work hard at it, as anyone has to work to become proficient at anything great, such as in sports, music, or academics. The piano has to function properly and sound good for a child to actually enjoy playing it. A student can't attend a lesson once a week, not practice at home, and expect to come out playing Mozart.

Another item to consider is that students will only sound as good as the instrument they have to play on. These reasons are why I have a policy of waiting to take students into the piano program until they have a reliable instrument to practice on.

Some parents argue, “But I don’t own a piano, and my son/daughter still wants to take lessons!”

Here are a few solutions to try:

1) Look around for a low-cost or free piano that still works and does not sound “sick.” (“Sick” pianos can sometimes be tuned, though!) Often friends or family members have a piano you could borrow for a few years, or there are many other places to look (outlined below.)

2) Wait one year to take piano lessons and save the tuition you would have paid toward piano lessons and use it at the end of the year to purchase an inexpensive piano.

Some parents are worried about space, and say, “But I don't have room for a piano in my home!” If that's the case, then I’m so sorry, but your child should choose to play another instrument--one that's smaller. :)

Another question I receive is, “What is best: a keyboard, digital piano or a piano?”

In my opinion, it goes in this order:

1) A well-tuned and well-kept piano

2) A digital piano

3) A full-size (88-key) keyboard with weighted keys and a pedal

Note: I will not enroll students who have a smaller keyboard that is not touch-sensitive and does not have 88 keys or a pedal, as it is not setting them up for a successful experience in lessons. Most students that begin on keyboards but do not upgrade to a full-size instrument quit after roughly two years of lessons or less.

Parents wonder, “Why is it difficult to practice on a smaller keyboard (one with fewer than 88 keys?”

This is why I believe practicing on a “smaller” keyboard may be frustrating for students and limit their progress:

• Learning piano is a discipline; if a keyboard resembles a toy, it will be treated more like a toy than a skill to master; students typically do not want to practice as much on a keyboard as they would on a piano.
  
• It doesn’t have all of the keys, so students end up with music that says to play notes that do not exist on their instrument. Also, with smaller keyboards, it is very difficult to switch from a keyboard to the piano in lessons, because spatial recognition is different. For example, Bass C may be slightly to the left on a piano, and far to the left on a smaller keyboard, so students (especially young ones) often get confused as to where to put their hands, and have a much more difficult time with learning to read music.
  
• Smaller keyboards usually do not have pedals, so students do not have the opportunity to learn how to pedal.
  
• The keys are easy to push down, so finger muscles do not get strengthened. When “keyboard” students play on a piano, they often complain about how hard it is to push down the keys. (It’s somewhat like weightlifting using two empty water bottles at home, and then going to the gym and using two 10-pound weights with a trainer once a week.)
  

There is no bench, so students often end up practicing at a table or on their bed, which teaches them poor posture, and often awkward piano playing, which is very detrimental to posture and technique and is difficult to correct later on.

• It hinders your child when performing in the recital and other events. Can you imagine practicing on something all year, then performing on something entirely different? The grand piano at the recital is much larger, feels a lot different, is much louder, has a full-size bench at a specific height, and has three pedals that may feel "hard" to push down.
  

What about digital pianos and full-size weighted keyboards?

Digital pianos or full-size, touch-sensitive keyboards with a pedal are better than smaller keyboards in that they have all 88 piano keys, pedals, and many have other sounds and advanced technology such as recording, a built-in metronome, headphones, etc.

Even though many of these are touch sensitive, the action is still not as weighted as it is in pianos; I can usually tell a difference in tone and sound produced between students who practice on these and students who practice on pianos. Digital pianos are usually fine for getting basic practicing done, but overall, pianos (even old ones!) yield the best results in controlling tone and for building strong fingers. If a student is playing advanced music and/or considering trying out for college piano scholarships, it is probably time to upgrade to a piano.

But we can’t afford a piano!/Where do we look for a piano?

Here are some more affordable places to shop for pianos:

• Check out www.keys44kids.com. It's a charitable organization that takes used or donated pianos, refurbishes them, then sells them affordably, often with a warranty. You can even view their Minneapolis inventory online!
  

• Shop on http://www.craigslist.org/. They are usually full of used pianos that people want to get rid of inexpensively, if not for free! You have to “weed out” the bad ones a little, but it’s like going to garage sales; you sometimes find a great deal there! Usually people getting rid of pianos ask you to move it yourself. (You may either arrange to move it yourself, or hire a piano mover, which is usually well worth the money.) Just be sure to check the piano out first before taking it home. (See the list below for what to look for in a piano.)
  
• I’ve had great luck at Carlson’s Piano World in Plymouth, MN, which is where I bought my home piano. Carlson’s even shows their used inventory online http://www.minnesotapianos.com/. Please tell them I sent you there.
  
• Schmitt Music has a rent to buy program for pianos, which may be good for someone who would be interested in renting first to see if their child enjoys taking piano lessons. You may also purchase pianos there.
  

What should I look for in purchasing a piano?

• Do all the keys play? Are there 88 keys? Do they produce a nice tone? (Some of this may be corrected by tuning the piano.) Is the plastic or ivory coating on all the keys? Are any tops of keys missing?
  
• The piano should have 2-3 pedals. The main pedal you want to work is the one on the right. If you push it down and play notes, it should create a nice sustained sound. The pedal on the left is the “soft pedal” and if pressed down, should help the piano play softer. Don't worry too much about the pedal in the middle. (Students don't use that one too much.)
  

How does the piano sound? This is sometimes a tricky one if the piano hasn't been tuned in a while. However, you can still listen to it's tone. Is it a tinny tone? A "round" tone? Do the keys play softer or louder than you expected? (Translation:Could you listen to this piano for hours? You have to enjoy what you will be listening to every day!) ;)

• When you don't have any pedals down, play a few notes then lift your fingers off of the keys. Do the keys stop ringing? (They are supposed to.) If they keep ringing, and no pedals are down, there is something wrong with the dampers and/or the sustain pedal, which could indicate a costly repair.
  
• Look at the outside for scratches, dents, etc. (although don't get too worked up about cosmetic things. What matters is the feel and sound of the piano.)
  
• Ask if it comes with a bench.
  
• Ask about delivery; My dad broke several bones in his foot moving a piano. The medical bills cost more than the cost of hiring someone to move it. It's often worth paying for someone to deliver this. (It's usually around $200--rough ballpark estimate for an upright piano. Moving grands cost more.)
  
• Do not purchase a piano with a cracked soundboard (on the inside)!
  
• You may always contact a piano tuner/technician to come with you to check it out for a minimal fee. (This is equivalent to bringing a mechanic with you to check out a car you’d like to purchase.) The tuner/technician may look for all kinds of flaws that you or I might not catch with the mechanics of the piano. (Look for tuners in the Piano Technicians Guild, http://www.ptg.org/, for a certified technician/tuner.)
  

To piano teachers: These posts are copyrighted. Please do not reprint whole sections on your blogs or websites. Feel free to reprint the first paragraph of any page and then link to it here. You also have permission to print things and hand it out, as long as my name and the blog address are visible. Thank you for respecting my copyright.

How parents can support their child at home

Think of your piano instructor as your child’s “personal trainer.” The instructor has the unique opportunity and challenge to work with your children once each week. During the lesson, she practices hard with each student and gives specific directions on what and how to practice at home every day. This is typically outlined in your child’s assignment book, which is to be reviewed with a parent weekly to make sure each assignment is getting completed. In the lesson, your teacher goes over pieces to strengthen students’ muscles as well as their minds. What happens to muscles (and minds) that are not used more than once a week? That’s right—they atrophy! The most crucial role parents have in this process is to be a cheerleader for their child and an enforcer of practice time and of the directions given in the assignment book.

As with any personal trainer, your teacher can help students work hard once a week, but if they do not practice daily at home, your money spent on lessons is wasted. To get lessons started out on the right foot, please take the time to sit down with your child and set aside a specific time each day to practice that fits in with your daily lives. It could be a specific time such as “4:00 p.m.” or a specific trigger such as “after school” or “after dinner.” There is a place for students to schedule their practice time weekly in the 3-ring binder assignment books that we give out in lessons.

Trainer Tips:

1) Split it up. If practicing 30 min./day seems daunting to a student, try splitting it up in two 15-minute sessions, such as 15 minutes before school and 15 after.

2) Practice toward a specific goal, such as “I will get the counting down perfectly in this piece today” versus to a time limit. Break down the week’s pieces into manageable goals for each practice session. The student can be done practicing as soon as that day’s goals are met, whether it takes 5 minutes or an hour. This encourages efficient use of the time, as students work hard to accomplish their goal to be rewarded by being done practicing early! Much more is accomplished with goal-oriented practicing!

3) Practice right away. Many people have the rule that homework has to be done before any practicing is done. I was taught to practice before homework because if the homework gets done late, the practicing is usually skipped or put off. If done the opposite way, practice before homework, students usually stay up late to finish the homework, so both get done.

4) Sit with your child two times each week (more if the student is young.) Do it once the day or day after the lesson to review the assignment and to make sure your child understands what and how to practice, then do it again 2-3 days before the following lesson to listen and encourage them in their practicing, and to make sure that their goals are being met. Use phrases such as “That’s my favorite piece—can I hear it again?” or “That doesn’t sound quite right. Could you check the notes/counting over again?” You could also sing with the words if there are any to encourage keeping a steady beat and good rhythm. This also provides quality one-on-one time with your child and lets them know you care about their hard work spent practicing. The more you show an interest at home, the more your child will enjoy practicing.

5) Choose a good spot for the piano. Put the piano in a prominent spot in your home—somewhere where your child will walk by frequently. You would be surprised how often they may happen to walk by, start playing intending for it to be just a few minutes and end up playing for much longer! Contrast this with a piano stuck in a far-away room, or in the basement, where the child has to make a conscious effort to go there and may feel alone or far away from everyone else.

6) Buy a piano, if you do not already own one! Tune or fix your piano if you already have one! Buying or fixing a piano re-affirms the parents’ commitment to piano (because it is a big financial commitment) which in turn means that the student is encouraged to practice more by the parents who just made this financial commitment. Students also enjoy playing on a new or fixed instrument more. If they like the sounds coming out of it, they are more likely to play it! If it sounds terrible, they will try to finish practicing sooner, or skip it altogether.

7) Perform for others! Schedule “performances” for family and friends or volunteer to play in a nursing home or church. Other people love to hear children play, and will encourage them as well! Students also practice more when they know it will be heard by others on a specific date!

Hopefully these “trainer” tips will help you get this school year started right!

3) Practice right away. Many people have the rule that homework has to be done before any practicing is done. I was taught to practice before homework because if the homework gets done late, the practicing is usually skipped or put off. If done the opposite way, practice before homework, students usually stay up late to finish the homework, so both get done.

4) Sit with your child two times each week (more if the student is young.) Do it once the day or day after the lesson to review the assignment and to make sure your child understands what and how to practice, then do it again 2-3 days before the following lesson to listen and encourage them in their practicing, and to make sure that their goals are being met. Use phrases such as “That’s my favorite piece—can I hear it again?” or “That doesn’t sound quite right. Could you check the notes/counting over again?” You could also sing with the words if there are any to encourage keeping a steady beat and good rhythm. This also provides quality one-on-one time with your child and lets them know you care about their hard work spent practicing. The more you show an interest at home, the more your child will enjoy practicing.

5) Choose a good spot for the piano. Put the piano in a prominent spot in your home—somewhere where your child will walk by frequently. You would be surprised how often they may happen to walk by, start playing intending for it to be just a few minutes and end up playing for much longer! Contrast this with a piano stuck in a far-away room, or in the basement, where the child has to make a conscious effort to go there and may feel alone or far away from everyone else.

6) Buy a piano, if you do not already own one! Tune or fix your piano if you already have one! Buying or fixing a piano re-affirms the parents’ commitment to piano (because it is a big financial commitment) which in turn means that the student is encouraged to practice more by the parents who just made this financial commitment. Students also enjoy playing on a new or fixed instrument more. If they like the sounds coming out of it, they are more likely to play it! If it sounds terrible, they will try to finish practicing sooner, or skip it altogether.

7) Perform for others! Schedule “performances” for family and friends or volunteer to play in a nursing home or church. Other people love to hear children play, and will encourage them as well! Students also practice more when they know it will be heard by others on a specific date!

Hopefully these “trainer” tips will help you get this school year started right!

Student Opportunities with Piano Lessons

Student Opportunities with lessons: Students may participate in the following opportunities at my studio: a yearly recital, the Association of Professional Piano Instructors’ Festival, MMTA theory testing, and the MMTA yearly competition. Other opportunities may be offered as well, including opportunities for performance, positive and constructive criticism, and competition, depending on the needs of each student. The only mandatory event is the recital. Students are also encouraged to share their music with friends, relatives, and at other venues such as nursing homes, hospitals, etc.

Details: The Recital is the only mandatory event each year. The Maranatha Christian Academy recitals are held in April on a Thursday evening at the Living Word Christian Center Chapel in Brooklyn Park. The North Branch recital is held at the Kost church in March or April. For the recital, students typically play two pieces or one longer piece, and memorization is encouraged, though not required. Family and friends are encouraged to attend.

The APPI (Association of Professional Piano Instructors) Festival is held in Golden Valley on a Saturday in mid-April. Students are assigned an 8-minute time slot during the day in which to play one or two pieces in front of a judge, who writes positive and constructive comments about the piece(s.) Students who participate will receive a ribbon along with the judge’s comments. The cost of the event is a non-refundable $16.00 entry fee, and parents are responsible for transportation to and from the event. This is a good way to get outside feedback from other area piano instructors on pieces and to have a positive performing opportunity. This is a wonderful event for all ages, even the first-year student. Students of all ages and abilities are encouraged to participate!

MMTA (Minnesota Music Teacher's Association) Competition: MMTA sponsors State Contest Preliminaries in late January at Bethel University in Arden Hills. If students are selected from the preliminary auditions, they would move on to the finals competition at the University of Minnesota in mid-March. Contestants must be students of MMTA members and must choose selections from the current contest list. Competition categories include piano, voice, organ, strings, and woodwinds. There are eight age divisions in which piano students may compete, ranging from the Pre-Primary division (7 years and younger) through Senior B (19-20). The student is assigned their category based on age, not ability level. Each student would choose one piece from their age appropriate category that has about 10-12 pieces from which they may select. Each round of competition costs around $20.00.

Over 5000 students enter the State Piano Contest annually. Pianists with the highest grades in the contest finals are selected for ensemble performance in the State Honors Concert in May. This concert has grown into a gala event involving 700 young performers playing on 20 grand pianos in ensemble groups.