As a private music teacher just opening my studio, I found that finding private students via online lesson directories and flier mailings was slow going. However, with a few phone calls to local pubic high schools, I was able to get involved as a voice teacher in their after school music lesson programs. This was the perfect solution to my budding studio, connecting me to a large volume of interested and reliable students.
Let’s take a look at the pros and cons of teaching in an after school program, and what steps should be taken to begin teaching private lessons in the public schools.
Pros:
• Access to a large volume of students
• Students are typically recommended by their public music teacher, so most are prepared for formal private lessons
• Most public schools do not charge a studio fee as some private music schools or conservatories do
• Your music teacher supervisor may take care of all billing issues- some school districts have definite rules about this, so it can vary school to school
• Offering students lessons on location is helpful for parents to schedule their after school activities
• Some music programs’ booster clubs may assist students with lesson scholarships
Cons:
• The studio is public school property- everything involving you and your lessons must be in line with the school board’s policies
• Since you are working with children, a background check is typically required, which can take weeks to process
• Depending on the school district’s policies, the school district may pay you directly instead of receiving private checks from parents. Make sure you are informed of exactly how you will be paid, and always keep track of you lessons and monies owed using Music Teacher’s Helper
Let’s get started teaching!
1. Recruiting Students:
Contact schools around the area to see if they have existing after school music offerings, or if they are interested in starting a program. Some school districts allow private teachers to teach during student’s open hours, such as study halls or open lunch periods. Others only allow lessons after the school day is over. Call around to a variety of schools, both public and private, to pull a schedule together. Offer to give a short recital or group music lesson on your instrument for the schools you are planning on teaching at. Bring plenty of business cards, your schedule, and studio registration form for prospective students to fill out after your presentation.
2. Enrollment:
Treat your students in the after school program just as you do your regular private students. This means enrolling them in your Music Teacher’s Helper program, allowing parents and students access to studio announcements and updates. This also means going over student policies carefully with each student and adhering to these policies throughout your teaching.
3. Billing:
As stated earlier, billing can be tricky depending on the school district’s policies. In some situations, you may be on your own concerning billing parents for student’s lessons. Music Teacher’s Helper is a great tool, especially since in this particular situation you may not be dealing with parents on a one-on-one basis each week. In other situations, you will need to fill out your weekly lesson charges for your teacher supervisor so the school district can pay you directly.
After school lessons at the public school should be seen as enrichment learning experiences beyond those occurring during the regular school day. While not a cure for schools with little or no music program, after-school music programs can help some students overcome their obstacles by giving them one-on-one attention. Encourage your students to bring in music they are having trouble on in their music classes or even excerpts for All-State or honor ensemble auditions. Be sure to show your students’ progress at the end of each semester with a full studio recital, reassuring both parents and your supervising music teacher that after school one-on-one attention is beneficial for the life of the student and the growth of the school’s music program.
About the Author
Nebraska native Sarah Luebke completed her MM in vocal performance at the University of Kentucky, and her BM in vocal performance at St. Olaf College. Recently she has been seen performing the female lead, Jane McDowell, in "The Stephen Foster Story" and the ensemble of "Big River" with Stephen Foster Productions. Other performances include the soprano soloist of Bach's St. John Passion, La Fee in Massenet's "Cendrillon" at the Intermezzo Opera Festival, Najade in "Ariadne auf Naxos" at the Brevard Music Festival, Monica in "The Medium", Rose Maybud in "Ruddigore", and Fiordiligi in "Cosi fan tutte". She currently resides with her husband in Florida, teaching a studio of 40 students and auditioning and performing locally.
by Amy Gould — Fri Jan 11, 2008 @ 9:57 am
It's also important to connect with as many schools as possible since a change in the music teacher or administration can mean a drastic change in the attitude toward private instruction.
I found this out first hand at a college where I was teaching an adult beginners voice class through the continuing education department. Every year this course filled up and had a huge wait list, but a change in administration one year meant that all such non-diploma courses were eliminated at the end of the fall term and I was suddenly without income. Trying to find a suitable place to teach half way through the year was virtually impossible but I was saved by another teacher going on maternity leave in January and walked in to a fully set up studio with 25 students at a small community music school. Only two of them decided not to continue with me.
by Craig Tompkins — Sat Jan 12, 2008 @ 1:52 am
by Sarah Luebke — Sat Jan 12, 2008 @ 9:44 am
by Chris — Fri May 9, 2008 @ 12:33 pm