Piano Studio Of Karin McCullough, NCTM

If the student is brand new to music lessons, at the first lesson I typically teach the student (1) how to correctly sit at the piano, (2) that moving to the right on the keyboard gives us higher pitches and moving to the left on the keyboard gives us lower pitches, (3) to notice that black keys are in alternating groups of 2 and 3 keys, (4) how we number our fingers, (5) how to use our arms, hands and fingers to play the keys, (6) to play Hot Cross Buns with either hand, (7) to recognize and count one beat, two beat and four beat rhythms. Either at this first lesson or the next lesson, I teach the student the musical alphabet goes from A to G and then starts all over again. I have the student play each white key from the lowest on the piano to the highest, naming each each while playing it. Then I teach a memory device for more easily finding all the C's on the piano (find the "black lacquered chopsticks" and notice that the "chopsticks" begin with the key called C); then we do C races up and down the keyboard (the assignment for the following lesson is to play only all the C's cleanly in 10 seconds or less). Next I teach a memory device for more easily finding all the F's on the piano (find the black tines of a fork and notice that the "fork" begins with the key called F; then we do F races as we did for C's. Each lesson I introduce the naming of a new key's letter for a new round of "races." Once I've introduced the student to the musical alphabet, I start writing out and teaching the student his or her choice of famous songs using letter names inside note circles indicating the correct rhythm, for example, for: Mary Had a Little Lamb, Twinkle Twinkle Little Star, Old MacDonald Had a Farm, Frere Jacques, Beethoven's Ode to Joy, and Happy Birthday to You. After a few weeks, I feel I have a better sense of how the student learns and I suggest a particular method book for the parent or guardian to purchase. Usually I give each student 3 assignments. Ideally one assignment is brand new but we've gone over the material together in the lesson so it's not too scary to take home and practice it; one assignment is to make corrections to a piece the student is learning; one assignment is to put the finishing touches on a piece already learned and come prepared to perform it for me at the next lesson. In addition I assign an exercise that will make learning new music come more easily. I give my students fun stickers for answering "discovery" questions, for doing "three times in a row" challenges with me, for making good progress, & for doing extra credit. I let my students pick colors for their "Star System:" if they play an exercise or piece for me "performance perfect" at their next lesson, they get a rare and precious gold star (it's up to the parent or guardian to decide how many gold stars merit a reward and what that reward might be - a hug, a toy, a treat, a concert outing); if they need 2 tries, they get their favorite color; I allow up to 5 tries if the student wishes. Any color of star (be it the first or the fifth color) awarded by me, I tell them, is good!

I studied music in high school and college, taking piano lessons for many years privately from Mrs. Hurshelene Griffin of the University of Illinois University High Laboratory School at Urbana, Illinois; and from Alfred Kronacher of Musical Experiences and Tamara Friedman of Connoisseur Concerts/Musique du Jour (fka Gallery Concerts) at Seattle, Washington. I also studied voice, taking weekly lessons with composer, vocalist & organist Paul White of the National Academy of the Arts in Champaign, Illinois, with Catherine Treadgold (mezzo soprano) formerly an instructor in the Music School at Shoreline Community College, and with Deeji Killian, formerly a comprimario with Seattle Opera. 

In addition, I have sung in three choirs & was alto leader in Oratorio Society at the University of Illinois at Krannert Center for the Performing Arts in the 1970's.

I also have years of experience of accompanying opera singers in the Greater Seattle Area.

I am a Nationally Certified Teacher of Music in Piano.

Tuition for the "regular" term (September 1 through June 30) is $1,400, for 4 regular weekly half hour private lessons each month, payable in full, or 50% on each of September 1 and February 1, or in 10 installments of $140 each due on the first day of each month in the regular term (with a grace period through the date of the first regularly scheduled lesson). In addition, the student's family pays for most lesson books and extracurricular events (such as studiowide hall rental for recitals; registration for Sonatina Festival & October Festival, statewide musicianship exams; participation in the Washington State Music Artistry Program) but participation in my studiowide rehearsals is included. 

While still working as a corporate law paralegal in a downtown Seattle law firm, I had a regular weekly Friday night gig at an Italian bistro where I accompanied Seattle Opera singers, soloists and small ensembles. To entertain the restaurant's diners, I would accompany the singers in one famous piece, and then I'd play about 15 minutes of solo classical piano music until the next operatic selection. Patrons began asking me to teach their children and grandchildren; my law office coworkers asked me to teach their children; my neighbors said they threw open their doors and windows whenever I practiced so as to better listen to me and asked me if I'd teach their children and grandchildren. Before long, I was teaching enough students in my piano studio to feel comfortable in my decision to quit working as a paralegal and instead pursue a fulltime career as a piano teacher and performer. I feel as if this is what I was born to do and am so thankful to have had this chance to redirect my energies to what's most important: sharing the love of music!

I have worked with students of all ages and talents and abilities, from those somewhere on the autism spectrum or with learning difficulties to those preternaturally gifted in music, and I have enjoyed lessons with all of them. For students' familiies who have financial difficulty affording lessons, I have so far always been successful in getting scholarship grants for earnest students of any ability.

My studio just recently gave its annual autumn recital. This year we held it in a recording studio: Jack Straw Cultural Center, so by the end of the recital, I was able to electronically send every participant's family both a professional audio and an audio/visual recording of the afternoon's recital. For recital, I let my students choose one or two of their favorite pieces learned since our last recital that they most want to share with others, provided the student is willing to work with me for several weeks to make their performance as good as can be. As we approach the recital date, I have my students arrive 5 minutes early and stay 5 minutes late for their weekly lessons so they can practice performing their recital pieces for the students who come before them and after them. The week before the recital, I offer daily free 30-minute rehearsal at my house where we go around the room twice practicing performing (including applauding for others and bowing in acknowledgment) for about half a dozen other students. At the recital I ask the performers to make an indentation in their programs whenever they hear a piece they'd like to learn someday, and to bring that program to their next lesson so I can keep a log of the pieces I will teach them when they are ready for that level. After the recital performance, we have a party with homemade food and drink brought by volunteer families, so everyone has a chance to get to know each other better, pay compliments, and celebrate a day of musicmaking. Often students will come up to me at this post-concert reception and ask me eagerly when is the next recital scheduled for!

Pay for a trial first lesson with any prospective teacher. Be sure to have a parent or guardian sit in on the whole lesson so you can better get a feel for the teacher/student relationship. Give preference to a teacher affiliated with or certified by a federal, state or local music teachers association because that teacher probably shows an interest in keeping current and open to teaching ideas shared with other professional teachers. Listen to the teacher play the piano - do you like the teacher's performance? Ask for a policy letter so there are fewer surprises down the road.

Is the prospective piano student willing to practice the assignments every day he or she sleeps at home (and thus has access to a piano)?

Does the family rent or own a full-sized keyboard with at least a damper pedal attachment and with weighted keys?

Does the prospective student's schedule permit the addition of adequate time for daily music practice? I generally advise a minimum of 10 minutes/day of "smart, focussed practice" for primer level, adding 10 minutes/day for each higher level, up to 30 minutes/day for a student not wishing a career in music but up to 2 hours/day for a student wanting to pursue music as a career.