The Savvy Music Teacher: Blueprint for Maximizing Income & Impact

by David Cutler

Is it possible to have a music teaching career that is meaningful, artistically fulfilling, and financially self-supporting? The Savvy Music Teacher unveils a clear, realistic, dollar-for-dollar blueprint for earning a steady income as a music teacher, increasing impact and income simultaneously. This comprehensive resource reveals an entrepreneurial process with lessons that cannot be found anywhere else. Armed with Cutler's expert guidance, readers will learn to develop:

- A thriving studio with a transformative curriculum
- Multiple income/impact streams
- Innovation strategies for every aspect of business and art
- Powerhouse marketing
- Time management skills
- Financial literacy and independence
- An inspired career outlook

A must-read for music students, aspiring studio owners, early career instructors, and established gurus, The Savvy Music Teacher is packed with actionable advice written in accessible language. Real-life experiences from successful teacher-entrepreneurs are featured throughout.

Genres: Music, Nonfiction, Business

414 pages, Hardcover

First published July 30, 2015

Reviews

[Devin · Rating 5 out of 5]

Full-time independent music teachers around the U.S. generate about $25,000-$40,000 annually (p.2). The Savvy Music Teacher (SMT) can reasonably build a career earning $50,000-$100,000 annually. A SMT creates a viable business model while making a profound difference in the lives of students and communities (p.3). You make more money when you imagine a new, valuable musical experience and connect those initiatives to an economic model (p.4).

Arguments for music Advocacy (p.7):
Music makes you smarter: A slew of studies suggest that musical participation positively increases IQ, affecting spatial-temporal reasoning, memory function, hand-eye coordination, observational skills, ad more
-Music makes you more successful: Music study is often linked to higher academic achievement, standardized test scores, high school graduation rates, and college attendance.
-Music is good for the soul: Soothing the heart and mind, music channels emotions and promotes healthy living. Playing music can be therapeutic.
- Music is an international language: Every culture and tie period has championed music as a form of expression and communication

Music possesses the capacity to impact large-scale social range while cultivating leaders and facilitating collaboration, or touch the soul of a individual in highly personal ways (p.8).

**An Essential Question
Relatively few have a deep understanding of larger purpose. Great and successful leaders, on the other hand, start by asking "why". The best and most impactful SMTs start with why, utilizing their discipline as a spectacular forum for solving some kind of problem. There are driven to answer an essential question, or top-level priority to be addressed by a lesson, class, curriculum, or even business (p.11).
What is the driving force behind your instruction? 20 years from now, when current student reflect back on your time together, which benefits do you hope they cite above all others? Identifying an essential question is an imperative step towards developing a potent teaching philosophy true to your core values. Examples include (p.12):
-How can I help students experience a well-rounded musical/artistic existence?
-How can I help students develop self-esteem through music and creative exploration?
-How can I help students become lifelong music patrons/lovers?
-How can I help students use music as a tool for success in other areas of life?
What kind of students and world are you hoping to build?

It helps to begin the lesson with the student like: "How can I help you today?" Instead of imposing the teacher's will, it is essential to listen to the students' desires, aspirations, and interests on a regular basis. This way they take ownership and the lead the way (p.15).

Music Benefits/Learning Objectives (p.15-16):
Collaboration, Adaptability, Advocacy, Attention to detail, Career Skills, communication, community building, creativity, critical thinking/problem solving, cultural engagement, curiosity, Discipline and focus, Diverse musical experiences, Diverse Skills, Empathy, Engaged citizens, Entrepreneurship, Expression, Goal Setting, Healthy Living, Imagination, Leadership, Listening skills, musical literacy (it's another language!), Opportunity creation, organizational skills, professionalism, Pursuit of excellence, Self-esteem/identity, social skills, spirituality, stage presence, strategic planning, and work ethic/drive
These are Potential Music Learning Objectives. Identify the 5 or so that are most important to your studio. Which values are the most vital to solving your essential question?

Only once you have defined an essential question and ranked top learning objectives are you fully equipped to begin designing a unique, personalized, meaningful curriculum. What specific activities/environments are most likely to cultivate your stated goals?

Lead sheets, teacher imitation, transcription, dictation, harmonic analysis, stylistic composition, and Solfege study all offer valuable and distinct musical literacies. Students challenged to approach repertoire through a variety of processes often enjoy a richer artistic existence than those exposed to just one or two (p.18). Music is an extraordinary vehicle for developing discipline and attention span. When young students practice for 15 min straight or older ones for hours on end, the ability to focus is honed in ways with which few other disciplines can compete, particularly in our society plagued by attention deficit hyperactivity disorder p.20). Teach them to identify challenges, set concrete measurable goals, and assess growth. Have them make audio/video recordings of practice sessions, to be examined during lessons. Review journal entries with student, discussing successes, challenges, and opportunities. Stress the significance of making minutes count rather than simply adding them up.
Create exercises that pinpoint one challenge at a time; define attainable tasks, asking "What actionable step can I take now tat has the most immediate impact?" (P.21). 25 minute period of work followed by 5 minute break for stretching and reflection.
Attaching "success" only to ability and performance accuracy is often counterproductive (22). There are 3 musical values to more reliably build self-worth:
Ownership-students are empowered to place personal stamps on musical projects. This can be improvisation, composition, unique interpretations, or choosing rep or helping to plan an event.
Meaning- Connecting with an audience like Christmas caroling or interacting in nursing homes.
Community- Camps, Classes, ensemble work, studio blogs, field trips and other group activities.

The number one rule of creativity is that there are no mistakes (25).
"What if" game (26)- What if you change the octave? What happens when you play every other bar as written and you make up what's in between? Can we turn Old McDonald into a sad song? Granting permission to explore is not simply a perk of lessons. It's the main point! (27)
1) Essential Question/Primary Purpose
2)Identify and prioritize learning objectives that support the purpose
3) Design activities and initiatives that promote desired outcomes

Music teaching is a business (29). If you set your price too low, you are devaluing the contribution of the entire music teaching community (31). Also, clients will assume your meager pricing suggests inferior quality.
Once a positive relationship has been established, clients become more open to sales messages (34). Consider selling violins and other products as well. If you teach violin lessons and rent violins, it is probable that students will lease an instrument from you, contributing to two separate income streams. Clients are destined to spend this capital either way, but working directly wit the trusted teacher provides a win-win (35).

Life without regularly interacting with colleagues gets lonely. Be deliberate about scheduling time to build relationships (38).

Unique Studio Identity (39-40):
You do not need to be a virtuoso to teach secondary instruments
-Offer "Style" lessons to musicians (ex. Baroque)
-Nonperformance skills- composition, classical theory, ear training, practicing techniques
Wellness- There is a market for teachers who address physical (ex. tension) and cognitive (ex. nerves) wellness.
-Career Issues- Coaching on marketing, branding, fundraising, entrepreneurship, music business, and other practical issues.
Who to Teach
Students prefer teachers with a history of helping people like them (41). Specializing builds name recognition within a given community. You can become known as THE violin teacher for low black youth. Students are likely to refer friends with a similar profile. Potential Music student groups: Actors, adult beginners, high school students to major in music, Homeschoolers, minorities, music teachers (teacher training)(42).
Possible teacher elements (48-49): Creative, Interactive, Laid Back, relaxed.
Pedagogies-Dalcroze, Gordon, Kodaly, Method book, Orff, Solfege,Suzuki, Your Own
Repertoire- Early music, Etudes, Excerpts (orchestral), folk music, Holiday music, Women Composers, Original compositions, sacred music, solo
Activities/Focal Points- Creative interpretation, patterns/exercises, playing by ear (for intervals), rhythmic emphasis, scales/arpeggios, score study, sight reading, stage presence, Harmonic analysis
Studio Traditions- Newsletter, Practice logs, student of the month, Student Profiles/news on website.

SMT Full time teaching is about 20 lesson hours per week (50). 30 minutes-elementary students and other beginners; 45min-middle school and less advanced high school; 60min-high school, adult, and advanced. Fall and spring terms= 15-17 lessons each. Summer=6-20. (51).
Where does the tuition go to? Time spent with student, prep time, past teaching training and experience, continued teacher education, music books, property taxes, self-employment taxes, insurance, and businesses licenses (52).
Most independent music teachers in the U.S. charge $40-65 per hour.
*Charge tuition by the term (56). This makes bookkeeping easier and students will be more committed,having already paid. Divide the full-term rate over equal installments, due by a given date each month. Give a 5% discount to people paying full-semester tuition in one large chunk by a certain date. Offer supplemental meetings, either consistently or leading up to a performance for a 10-15% discount (57). Charge a 15% premium for people who only want sporadic lessons.
Offer a teacher-subsidized scholarship for those who can't afford tuition (60). Set up a contract with an agreed upon practice weekly practice duration for the duration of the award.
Charge discounted rates for less desirable slots, such as lessons before the school day begins. Evening hours and weekends are prime time, commanding full price .
Late fee (61)=10% of the amount due
Bounced Check fee= Bank expense + $10-$20 penalty
Raise your rate annually or biannually (1-3%) and clearly communicate this policy with families (62). Offer discounts to families who pay for the entire year in one lump sum. If paid this way, they can secure the "current" tuition rate.

Music evokes movement, and children delight in and require movement for their development and growth (74). Music's melodic and rhythmic patterns provide exercise for the brain and help develop memory. Who among us learned ABCs without the ABC song? Music is perfectly designed for training children's listening skills. Good listening skills and school achievement go hand in hand. Music is a creative experience that involves the expression of feelings. Children often do not have the words to express themselves and need positive ways to release their emotions.

Event Themes: Students can play compositions by other studio members (109). Students provide verbal intro to music played by peers, students vote on an upcoming even't theme, students design the "set" seating arrangement, program order, reception, and so forth (110). Sight reading recital, Program order is drawn from a hat; Audience members suggest parameters (i.e. loud, slow, high, staccato, etc) applied to pieces. Award is given to section of audience that cheers the loudest (first to enjoy reception food?). Silent movie accompaniment, Studio party with music, Lecture recital, Musical style (baroque, classical) dance music, Fairy tale/story(read between pieces)(112-113).Students perform with customized t-shirts with a studio logo and musical message.
Joint recitals, combining students of two or more teachers, with noncompeting studios (i.e. violin and cello, beginner and advanced) (114). It can also be with other art forms like art, drama, or dance. Joint recitals can serve as a marketing tool, attracting siblings, friends, or even participants interested in exploring a secondary area.
Have students audition for "Teacher duet". First half student performance, second half guest artist (115). In addition to solo works, guest is featured alongside students.
No violin, but rhythmic clapping ensemble (rhythm challenge).
Students can pay a $100 concert fee to support the venue rental, decorations, marketing, programs, and a photo session with a pro photographer (116).
Outreach events: Homeless shelters, Hospitals, Libraries, schools, retirement communities, orphanages, etc. (116-117).
Events that are "required" or "Strongly recommended" scheduled from the beginning of the year, and enthusiastically plugged may attract as much as 200%-300% the size of your studio. After a few seasons, expect the group size to increase for this anticipated tradition (119). At minimum, full-time, host one per term, but it isn't uncommon to arrange something every 4-6 weeks (120). A steady flow of events allows students to share repertoire as it becomes ready, rather than stagnating for months. It provides regular opportunities for improving, stage presence, and overcoming performance anxiety. It also goes a long way toward making studio members feel like part of a vibrant community, rather than mere individuals in a lessons program. Have students interested in participating pass a preperformance hearing to demonstrate adequate preparation (play for outside musician). Most studio events last 30-90 minutes, depending on the age and number of participants. Shorter is better; Two adjacent briefer events are preferable to an unbearably long one (121). Pre-event lessons, classes, rehearsals, and blogs are great forums for addressing relevant issues like memorization, stage presence, bowing, memory slips, audience etiquette, active listening, and enjoying the moment (122).
You could secure gigs for the studio. Products can be sold at studio events: recordings of you and friends, video/audio of the event, studio merchandise (125). You could sell ads in your program.

Incorporate technologies into studio: An interactive theory game; use a single tablet stocked with apps (iPad piano app)(129-130). Students might compare interpretations of the same piece by master performers, send a midweek recording via email to demonstrate progress between lessons, play along with a recorded accompaniments, progressions, or grooves, or critique recorded performances of amateur musicians (131), or place lesson recordings in cloud storage, chronicling progress over time (132). You can type digital notes into websites like Music Teachers Helper or in the cloud. Digital notes give students instant and unlimited access to feedback while providing a clear of record expectations.
Apps: Flash Note Derby, note naming for beginners; GoodEar, a series of specialized music theory apps on intervals, scales, chords, melodies, etc. Zite, customizable magazine for personal and professional development; MusicNotes, every piece of music purchased from their website magically appears here (138).
For a community-building activity, "Release" a studio "Album" on your own studio "label"/

You can create passive income by digital downloads of your recorded music, print music, ebooks or recital/concert videos (147). Create a children's book about music or arrangements on pieces (p.158). Acquire instruments and rent them out. Once an instrument has been paid off, 100% of the rental fee is yours to keep (minus upkeep)(162). "Rentals are often priced to pay for themselves within a year or two (163). Partner with a music business: If you plan to send students to a particular location for major purchases such as instruments, some vendors pay commissions (p.164). Most dealers prefer giving vouchers or in-kind donations to loyal music teachers: free recital hall usage, free tuning, etc. (165).

"Transform your studios into academies is the most common way music teachers exceed the $100,000 benchmark while providing a path to positively influencing hundreds of students on a weekly basis" (172).
Check with city hall to learn the rules and regulations for running a home-based business (194). Make sure the front of your business studio leaves a good impression (197).
"Following years of paper record keeping in lessons, I am finally 100% digital. Using a free Evernote account as both a webpage and an app, I am able to create shareable and unlimited "binder" or each student. This shift along eliminated four piles from my office!" (201).

Operate as a sole proprietor, or non-incorporated businesses run by a single person (209). With this legal status, you business and personal financial life are intertwined to the core, at least in the eyes of the IRS. If you get sued, personal assets may be seized, making it essential to carry commercial general liability insurance. Profits can be reinvested in the company (and are tax deductible) or given directly to you, the owner. If your business grows to incorporate additional employees, other structures should be considered.
Use one page, comprehensible contracts to clearly articulate studio policies and expectations (210). It should include contact info, student name, rates, payment policy and methods, late payment charge, cancellation policy, refunds, and signatures (211). Use PayPal or Square (on smartphone); processing fees are tax deductible (212).

Fill the Studio
Facebook "Boost" , thumbtrack.com, Google Ad Words(214). Don't overpunctuate or overcapitalize. (217) Accolades provide credibility but should not be your primary message. Demonstrate value to students. Send a single page letter to 30 educators in the region addressing your teaching credential and offer value (221). Clients who refer you get a free lesson, referral fee, or reward (223). Use WordPress.com for student articles. Have a welcome video addressing the benefits of lessons and the types of students you impact (227).
USP and teaching philosophy are not the same thing. USP, shown often with succinct bullet points, explains what makes your studio special. A teaching philosophy expands upon this, explaining your essential question while pointing to specific features. Create a slogan (228).
Have students post on blog about their experiences (231).
Offer 10-20% first semester discount or gift for enrollment (incentive)(234).

Collect schedules before the term begins (243). Ask for "ideal" and "impossible" windows rather than "possible times, as some families are tempted to list only preferred options. Student schedules are often inconsistent throughout the summer. Tuesday-Thursday typically work best, as the rate of cancellation surrounding weekends increases (244). Having a clear and strict cancellation policy, articulated in your student contract reduces missed meetings. **Explain that tuition pays for your experience and a time slot, rather than the lesson itself (245).

Among the top reasons for burnout is over-teaching (320).
"If a student truly boils your blood no matter how hard you try, the best solution is referring them to another teacher. Life is too short and precious to waste negative energy on learners with whom you can't connect. Pessimism spreads quickly." (329).

[Susan A. Loy · Rating 5 out of 5]

Great Resource for Independent Music Teachers

What a great book - wonderful examples from other teachers and links to their websites. The author presents a viable financial plan for numerous income streams to support the private music studio. How I wish I had this book 20 years ago! This should be required reading for all music majors in college and anyone wanting a solid career teaching music.

[Kara Whitford · Rating 5 out of 5]

This is one of those books best read repeatedly. Cutler dreams big but does the work to show how those dreams can work. I look forward to implementing some of his thorough plans and returning to this book again for further inspiration.

[David · Rating 5 out of 5]

It's everything it claims to be. I only wish I had known about this book years ago!

[Andrew Boyle · Rating 5 out of 5]

Very helpful, gives a great overview of many topics that I hadn't considered but which are relevant to being an independent professional music teacher.

[Erik Holmes · Rating 5 out of 5]

Absolutely essential for any private music teacher.

[Dori Stowell · Rating 4 out of 5]

A must read for music teachers who want to make a living!

This book gave me concrete examples and ideas on how to make a living as a piano teacher. This is a definite must read for anyone trying to make a living as a piano teacher! Some parts were a little long, but worth reading to the end.

[Valerie · Rating 4 out of 5]

This book is a must read for just about any independent music teacher or studio owner! Great advice for almost all aspects of running a profitable studio.