What is an Audition-Interview?

Before signing up for music lessons, learn what's involved when a music teacher meets with a prospective student and parent(s) for the first time.

The audition-interview can be a vital part of the selection process when finding a music teacher. It gives the prospective student, the parent (or guardian) and the music teacher the opportunity to gather information needed to make a final decision on where to study. The meeting occurs after first contact (phone/email) between a private music teacher and a prospective student’s family.

Purpose of an Audition-Interview

During the audition-interview, the prospective student and parent can learn more about a music educator’s teaching philosophies and policies. The music teacher uses this meeting to assess the student, the family and determine compatibility.

Determining compatibility is a critical part of the meeting. It’s a case of determining whether the student’s communication and learning style is well-matched to the teacher’s communication and teaching style, determining how well the parents’ vision meshes with the teacher’s and how well all parties “click” with each other.

How to Prepare for an Audition-Interview

Each person involved in the audition-interview has to prepare in advance. A music teacher should have printed copies of his or her studio policies, studio calendar, assessment tools and registration form ready.

A beginner student should think about why he or she is interested in music lessons and why he or she is interested in a specific instrument. A transfer student should practice a couple of pieces learned with his or her previous teacher and review some technical exercises.

Parents of transfer students can prepare for the audition-interview by bringing a copy of their child’s previous exam transcript(s), music books used previously and assignment book. All parents should bring a list of questions and their cheque book.

What Happens at an Audition-Interview?

The audition-interview can take between 30 – 60 minutes. The meeting can be broken down into three sections: Teacher Interview, Assessment and Policies, Philosophies and Final Questions.

During the Teacher Interview, the teacher can direct some questions to the prospective student and the rest to the parent/guardian. Some questions that a music teacher can ask a potential student are:

1. Why do you want to take music lessons?

2. What do you like about music?

3. What are some of your hobbies and interests?

4. Do you like taking music lessons? (for transfer students)

5. Are you willing to practice regularly? How much time are you willing to commit?

6. What would you like to learn?

The following are sample questions that can be directed to the student’s parent or guardian:

1. What is the setup, practice environment and support structure to help the student organize his or her practice?

2. What extra-curricular activities does the student have?

3. What amount of time do you feel is reasonable for daily practice?

4. Is the student or the family involved in other musical activities?

5. Why did you discontinue lessons with your previous teacher?

During the Assessment, the teacher may ask a potential student to perform one or two pieces and technical exercises, followed by aural, reading, theory and rhythm questions. This helps the teacher assess technique, musicality and posture.

The teacher may ask the parent to wait in another room during the assessment portion. This gives the music teacher and student an opportunity to see how well they “click” without outside influences or interruptions.

During Policies, Philosophies and Final Questions, the music teacher outlines his or her studio policies with regards to attendance, expectations, rescheduling lessons, termination of lessons and tuition fees. He or she may also present the Studio Calendar at this time.

The music teacher also shares his or her teaching philosophies and approaches with the prospective student and parent(s). He or she may do a walk-through of what happens during a regular lesson.

Finally, the parent and prospective student have an opportunity to ask questions that haven't been answered yet. They can also voice concerns that they would like the music teacher to know.

After the Audition-Interview

All parties should take some time to reflect and review the information they have been given. During this “cooling off” period, one may conclude that the student’s or the family’s goals do not mesh well with the teacher’s methods and teaching style.

Arrangements should be made to follow up after the audition-interview. The final stage is to either complete the registration process with the potential student or have the teacher recommend several other qualified teachers in the area that may better serve the needs of the student and the family.

Taking the time to meet for an audition-interview is a vital part of the process when finding a music teacher. Music lessons are a long-term commitment and investment. Registering with a music teacher is the beginning of what can be a long and fruitful relationship. The audition-interview sets the tone for the relationship.

References:

Color in my Piano: Printables updated: Student Info form, and Student Interview forms (accessed August 4, 2010).

Torney, Helen, “The Professional Studio: Interviewing Prospective Students”, Music Matters, January/February 2002, p. 2 – 4.

Originally published on Suite101.com on August 6, 2010. Updated March 22, 2013. All rights reserved by Rhona-Mae Arca.

On Surviving September

Ahhhhhh! Where did September go? The students and I are back into the swing of things. The days are long. I typically begin teaching at 3:30 and go till 9 pm. I do have a few day students on Tuesdays, Thursdays and Fridays. I've even managed to stay on top of reshelving the books used each day and getting some regular practicing in. My former teacher would be pleased that I've pulled out some senior repertoire to muck around with (mixed in with some jazz, improvising and JPop of course). With more intermediate and senior students this year, I need to stay on top of things.

Now if only I could get in the swing of things with my paperwork. I'm behind on my bookkeeping (surprise, surprise) and other admin related work.

I am so excited to have such a great bunch of students this year. Actually, I should say "families" since being able to have a good relationship with the family is fundamental to making the year go well. For the most part, the students are doing well with their practice journals, although a few haven't been keeping track as well as I'd like (or practicing as much as their parents and I would like them to). Overall though, the practice journals seem to be working. The kids are using the forms to ask insightful questions, share what they enjoyed most out of their homework and alert me to what they need help with.

Even Maestro is maturing into his role as "canine teaching assistant". He rests quietly in his "room" (his kennel) most of the time and hasn't tried to steal any stickers. Prizes though, are another story. He bonked his head on the prize drawer a couple of times while trying to steal a peek.

A few students have simply blown me away with their compositions. A few were inspired by a tune they heard, while others have come up with something unlike anything I've heard before.

Students, parents and fellow teachers, feel free to share your feelings on your year so far. As for me, I better go practice...

(c) 2006 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Summertime for Music Teachers

Most students take the summer off from music lessons. Only a small handful commit to summer lessons (to prepare for a summer exam, personal interest/motivation or parental interest/motivation). For example, I'm going from 40 students in the school year to about five for July. Where does that leave the private music teacher come summertime? Some teachers are able to take the entire summer off. From what I can tell, it's those who have a growing brood of children and a husband with a steady income and/or an established studio with no or little business debt. These folk are able to put away some money throughout the school year.

On the other hand, teachers with a relatively young studio, who have bought a house, got married and/or started a family recently do not have that luxury. Nor do teachers who wracked up some debt before starting a business (and just continued to add to it) or those who are married to someone who's also self-employed. For those of us in this category, there are but two options - run up the lines of credit a bit more (IF there's room) or get a job.

I had a wonderful interview with a temporary office staffing agency this week called OfficeJobs.com . A friend recommended it to me (her husband is the website guy). Part of me is cringing at the thought of re-entering the corporate world but another part of me is looking forward to doing something different. Give me some data entry, where I don't have to think too hard. Surround me with adults all day for a change. That's fine by me. I like my students but a change in environment is refreshing.

It'll be different from being an employee. Temps can avoid office politics, don't stay in one place too long and aren't usually given a lot of responsibility.

The change of scenery will be good. (c) 2006 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Piano Paperwork Musings

This past weekend, Maestro and I processed all the student registrations submitted during the Early Registration period. Maestro lounged on his bed as I inputted the student's registration information into my teaching schedule, Palm Pilot, e-mail groups, birthday lists, my website administration site and Quickbooks.Quickbooks and my Palm Pilot are already programmed to enter the monthly invoices (Quickbooks) or beep before each piano lesson next year (Palm Pilot). Maestro would shoot up out of bed as soon as he heard the stapler, paper slicer and hole punch - all of which he guards zealously. He vascillated from watching my every move intently to make sure I use all tools properly, to lunging for them. The latter leads to him being hip-checked. Why he thinks they are toys is beyond me.

(c) 2006 by Musespeak(tm), Calgary, AB Canada. All rights reserved.

Lifelong Lessons from Great Music Teachers

Mrs. Ginzburg loved highlighters. They are pretty popular in my studio too. Credit: Rhona-Mae Arca

My last piano teacher passed away one year ago this week. Thinking of Irina sparked memories of all my music teachers. I thought I would pay tribute to Irina as well as to all the people who helped shape me as a musician.  

Lynn Eamer was a stern woman who terrified me. Mrs. Eamer taught me the importance of learning how to read. In my second year of piano, she discovered that I still hadn’t learned how to read notes (I was playing solely by ear). I still have the 100 lines she made me write of all the letter names.

When we moved, I studied with a woman named Margaret Fraser. I only studied with her for a year. She loaned me a Reader’s Digest songbook, which for some odd reason, was never returned to her. I still use it when I play at gigs. Margaret wanted me to be more relaxed. I played at either one extreme or the other (tense versus relaxed and sloppy).

Elizabeth Mahaffy had the challenge of teaching me as a pre-teen and teen. She was very sympathetic to the woes of teenaged angst. Elizabeth told me weekly to "listen to what you're playing" and taught me that having a compassionate ear is very important.

Elinor Lawson taught me for four years at the University of Lethbridge. I completed my B.A. in Music and my Gr. 10 piano with her. Elinor is an incredible accompanist with perfect pitch.

She taught me many things: how to make the most of my practice time when I had a repetitive strain injury, how to analyze my music to improve my memory, a few cheats to play through sections designed for larger hands and developed my inner ear. Many of the skills she taught me to practice efficiently were simple time and project management skills that I’ve applied successfully to other areas in my life.

My last full-time teacher was Irina Ginzburg, whom I studied with for three-and-a-half years. She was a vivacious spirit who demanded technical precision and overflowing passion. Our best was not her best. She didn’t just want her students to play well; she wanted us to play excellently. She once told me to drill one trouble spot until I got it right 11 times out of 10 so that I could get it perfectly 10 times out of 10 on stage.

Mrs. G taught me to channel all my frustrations from work into my music, helped me put an end to uncontrollable performance jitters and encouraged me to teach. She saw me through to my Royal Conservatory associateship diploma in piano performance. It was a bumpy road but we were both satisfied with the end result.

Sometimes, I catch myself saying something that one of my teachers said or doing something the exact same way. Not surprising since now I am teaching and performing. Sometimes, their words float into my mind in non-musical situations.

I suppose that’s the greatest tribute to them—the fact that even now— I continue to apply what they taught me.

© 2005 by Musespeak™, Calgary, Alberta, Canada. All rights reserved.