How I Structure Piano Lessons with My Kids

This is part of my piano teaching series. It's really important to read each post in order!

Intro: Discusses what the overall goals should be for music lessons

Part 1: Explains the principles of how piano should be taught to achieve those overall goals

Part 2: Draws upon those principles to list the specific skills that need to be emphasized from the start

Part 3: A compilation of additional insights to make their learning effective and fun

Part 4: Shows how it's all implemented by detailing my lesson structure

This is an area of active thought and and evolution for me as I figure out better ways to do things. Ultimately, any way of approaching the teaching of piano that implements the core principles discussed in my other posts and makes sense to the student will probably work great.

GETTING STARTED: THE FIRST PIANO LESSONS
Position. They should be sitting far enough away that their elbows aren't stuck in their sides. Free elbows don't limit movement when they are playing songs that use more of the keyboard. The bench should be high enough that their forearms are approximately level with the ground, which means elbows are approximately at the level of the keys. And they should sit up straight with good posture but relaxed with shoulders not tense. Really, the key aspect of this is comfort combined with an active position so they're ready to exert some energy practicing. Teach them to get in the right position very first every time they sit down to play the piano. This means they will be in the habit of adjusting the bench at the beginning every time.

Technique. There are layers and layers of technique that become more important when they are playing higher-level music. For example, should you play with fingers curved or fingers flat? It depends on the type of playing you're doing. Students can start to learn those different non-foundational techniques when the level of music they're playing starts to require them (not until they're playing at least at a high intermediate level I'd say). And, at that time, they can read whole books about it. A good starting reference book is Fundamentals of Piano Practice by Chang. It's a free PDF if you Google it. Forewarning, not everything he says in it is true, so it shouldn't be the only reference. Having said all of that, there are a few important playing techniques students should learn from the start because these will apply to all piano playing they do. First, they need to keep all their muscles (finger muscles, hand muscles, wrist muscles, arm muscles, . . .) as relaxed as possible and in neutral/comfortable positions. Stress in muscles at any time (either from straining muscles or from unnatural positions) in their playing will worsen their playing, and it's never necessary, even when they're playing loud or fast. Second, they need to have what I call "strong fingertips." Their fingertips should not bend backwards when they press down the keys (i.e., the DIP joints should remain flexed). This is because those lazy fingertips bending backwards kill a lot of the control they have over how far and fast they're pushing the keys down. Help them learn this one by playing one finger many times in a row with a nice strong fingertip, then move on to the next finger. Third, avoid unnecessary hand movements. Economy of motion will enable them to play cleaner all the time. Fourth, use forearm and wrist movements to take some of the load off the finger muscles. For example, slightly rotating (supinating) the wrist when playing a scale from thumb to pinky, and using a forearm up-down movement when playing staccato. These are the major technique things to train them to do early on, and the rest can come as the repertoire demands (generally much later!).

Intro to the keyboard. They first need to gain a good understanding of the structure of the keyboard (organized into octaves, "twins and triplets," find notes based on where they are in relation to those black key groupings) and be able to find any note by feel (no looking!) with either hand. I purposely teach the notes to them in random order so they don't ever rely on counting up from another note they already know. They should be able to immediately find a note purely based on their memorization of where it is in relation to the black keys. They cannot move on to any other skills until they have mastered this one. I also teach them right then what a sharp and flat are (semitone up/down from the index key, which means some sharps/flats are white keys!) so they know all the notes on the entire keyboard, and I'll test them with those just as much as the naturals. From there, it's nice to give them a few reference points, so I teach them to find Middle C, the G on the lowest line of the bass clef, and the F on the highest line of the treble clef.

Flashcards. Once they are solid on their intro to the keyboard knowledge, they need to start doing note flashcards each day. I take the treble clef and the bass clef separately so they can get a good idea of the range/location on the keyboard of where the bass clef notes are and where the treble clef notes are. I have them name the note as soon as they see it, check the back of the flashcard to make sure they're right, then find the note (without looking, of course) and play it. In short: name it, check it, play it. The check it part is important to prevent them from learning them wrong. I also often ask them to describe to me in words where the note is, which requires them to know there are five lines and four spaces. And, importantly, they should be doing their flash cards in random order so that they can look at any specific line or space on either of the clefs and know exactly what note it is without having to work their way up/down to it from another note they know better. This is their foundation of fluent music reading. Kids usually don't know how to do flashcards effectively (like knowing to just learn a few each day, knowing when they should move one into the "learned" stack, and that they should put one they got wrong at the back of the day's stack so they see it again a minute later), so you'll have to teach them. They will also need to start doing key signature flashcards soon too. Notes flashcards and key signature flashcards are the only flashcards I have them do, so they don't have to do any more once they've mastered those.

Hint about notes flashcards: Usually they come with the treble and bass clefs right there beside the note, but I find that students will integrate those clefs into their memorization of where the note is, which means they can't figure out which note they're looking at in actual music when it's not at the beginning of a line. So I used our paper cutter to cut off the left side of all our flashcards so they'll only be looking at the actual location on the grand staff to remember which notes are where.

WEEKLY LESSON STRUCTURE
1. Look at their practice log: This is the very first thing I always do so I don't forget. Make your expectation clear that they should practice six times in between lessons. This is what they need to strive for. But balance that clear expectation with love and understanding when life happens and they don't get all six practice sessions in some weeks. If necessary, this is the time I'll help troubleshoot what got in the way of practicing so they can do better next week. I used to print out a schedule and post it on the wall, but that got annoying, so now I just draw six circles in their lesson book at the top of the things I will be writing for them to practice that week, and each day at the start of a practice session they fill in a circle and then read through the practice instructions I've written.

2. Ear training: I have four specific things I do each lesson. This section only takes a few minutes but it is really fun for them and super important to hone these skills!

1. Absolute pitch test: Before they've heard a single note played, I will test their absolute pitch by playing a B or C and have them guess which note it is. Then I'll play that note in different octaves and have them tell me when I play a different note, which is always a semitone higher or lower for beginners, and I'll make them tell me what note it was. For example, I'll play a B to test them, then after I've told them what note it was, I'll play B's in random octaves, then eventually I'll play a C in a random octave to see if they recognized it was a different note and if they knew it was a semitone higher than the B's I was playing. I make them tell me what the new note is because I believe it's important for them to be able to recognize intervals between notes independent of the octave they're in.
2. Picking out notes from a chord: I will play two or three notes at the same time and have them hum each individual note they heard. Each two- or three-note chord is in a different key. And make it interesting by playing strange chords. Once they're good at even really weird dissonant three-note chords, I move on to four-note chords.
3. Intervals: I play an interval and make them identify it by its proper name. I start by only using the intervals from the major scale (major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, major 7th, and perfect octave). Each interval sounds different, so focus on helping them recognize the unique sound of each one. Every new interval I play is purposefully in a different key so they're not tempted to figure out the interval based on how far apart the notes are compared to the last interval I played. Play intervals one note at a time and don't forget to mix it up by playing the top note first half the time as well. After they've gotten good at recognizing all the intervals one note at a time, I'll play both notes at the same time. Then I add in all the other intervals that aren't part of the major scale (minor 2nd, minor 3rd, tritone, minor 6th, minor 7th).
4. The Harmony Game: This is my newest addition. I want them to start to be able to hear potential harmonies and be able to sing those. It's an important skill for singing, but it's also important for playing any instrument if you want to be able to improvise or compose. This is the one major ear training skill that was lacking, and I'm so excited about the results I'm seeing with it! First, I make up a simple melody. When they're first starting out, the melody will probably only be a single measure long, and the notes are purposefully played slowly. I will start playing this single-measure melody on loop, and this is what they have to do while I'm playing it. There are four tasks, and they cannot move on to the next task until they've passed the prior one, no matter how many loops of the melody it takes them. Task 1 is to sing along to the melody. I'll usually give them the syllable they should use. They seem to enjoy funny ones like "moo." This first task usually only takes one try. When they pass a task, I give them a thumbs up to signal that they can move on to the next task. Task 2 is to find a harmony that is above the melody. It can be any harmony that works. As long as it sounds cool, I give the thumbs up. No need to restrict and make them think only certain harmonies are allowed. Initially this will take several tries, but it helps a lot if you're playing the notes one by one slowly so they have time to hear what they're singing and evaluate if it sounds good with the note I'm playing on the piano. They are sometimes tempted to stop singing and figure this out in their heads, which is why I have a rule that they have to sing along with every single loop of the melody. This forces them to take risks and sing bad notes, but I emphasize that the point is to sing notes that might sound bad so they can figure out what sounds bad and what sounds good. If they're close to a good-sounding harmony, I will give a hand signal to indicate that they should try that one again to lock it in. Once they pass task 2, I give the thumbs up and they move on to task 3, which is to sing with the melody again. This is to remind them where the melody is in their register so they're prepared for task 4, which is to find a harmony lower than the melody. This is usually the hardest task, but they get it if they keep trying. Sometimes I can tell they've lost where the melody is relative to the notes they're singing, so I'll point to myself, which means to go back to the prior task and sing with the melody again. Once they do that, I give them the thumbs up again that indicates they can go back to task 4. My kids seriously impress me so much with the harmonies they come up with, it's really fun, and I suspect I'll start hearing them singing harmonies to their favourite songs soon too. 
5. The Find-That-Note Game: They close their eyes and I play a random note. They are not allowed to sing the note; they are only allowed to keep it in their brain (to practice retaining a specific pitch in their brain). Then they proceed to try to find that specific note on the keyboard, but I don't let them just start mashing a bunch of different keys until they've honed in on it. I make them name every note before they play it (of course, at no point are they allowed to look at the keyboard), and the challenge is to find it on the second try by hearing the interval between the note I played and the first guess they played. (Yes, this game becomes unnecessary after they've developed absolute pitch.) If they find the correct note and recognize it's the one I played, they win. If they don't, I win. We always play best of three.

For the first three parts of their ear training, I'm at the piano and they're usually sitting in a comfortable chair anywhere in the room, or sometimes they're doing cartwheels and somersaults. It's important for them to be comfortable and free to move about because they're about to sit at the piano for a little while, and it doesn't seem to interfere with their learning as long as they're still engaged. But I do make them come stand next to me for the Harmony Game, and then of course they're sitting at the piano for the Find-that-note Game.

To help develop their absolute pitch, I also commissioned an app to be built! It's called WhichPitch, and--as of the time of this writing--isn't available quite yet on the app store. But it's getting close now, and it should be available on the Google Play Store and the Apple App Store sometime in 2022.

3. Performance: Next, I want them to get the performance aspect out of the way. This is the part they usually stress the most about, but it's an important part of accountability because they will be more motivated to work hard practicing that week if they know they'll be required to perform the songs for me at their next lesson. I will randomly choose some songs (all of them if we have time) for them to perform. And since they feel pressured with me just sitting there waiting for them to start, I remind them that it's okay and necessary to take some time to do their pre-read routine and mental play it first. The other reason I do this early on in the lesson is because, if their performance ends up being a traumatic experience for them because they didn't practice well, they'll hopefully forget those feelings and be having fun again way before the lesson ends. But I try really hard to be smiling and find something really positive to say after every single performance! This is so important, and it's a big part of being an advocate rather than an adversary (see Part 3). After each performance, I'll ask them what went well and what went wrong (if anything) and we'll talk about it and figure out how they can get better. I'll also make them play the song over again if they didn't keep the rhythm or if I think they could do way better and it will help them be more satisfied with themselves.

4. Show them what they'll practice the next week: We then look through the next week's material and I make sure it's clear to them what they need to be doing. If there are new principles or theory that they might not understand just from reading their lesson books, I'll do a little explanation. The number one goal here is for them have no ambiguity about what they're practicing and learning the next week, otherwise they're unlikely to learn anything. If, on the rare occasion, they showed that they didn't learn anything from last week's material, I will consider having them re-do that material for one more week, but I make sure I understand exactly what went wrong. Did they just not practice enough times? Did I not explain everything well enough? When considering whether to have them re-do a week, keep in mind the importance of continuing to push them forward through the material--they don't have to perfectly master each week's material before they can move on because they will continue to pick things up along the way as they see them again and again. But if it looks like it might turn into a severe deficiency that will interfere with the next skills they will be learning, it's probably wise to have them spend more time on that material before moving on.

5. Extras: Some of my favorite lessons as a kid were the ones where my teacher was so excited about some music thing that he took time out of our lesson to show me--playing me a song he just found, showing the application of a principle I'd just learned, etc. That enthusiasm often made me think, as I was walking home from my lesson, "Man, I'm just so excited again about music!" Do these things as they strike you, and they may do more to motivate your students than anything else.

These lessons often go about 60 minutes, and maybe that just because I'm slow, but it usually takes a while to show them what they'll be practicing the next week and explain the new concepts. I don't feel too bad about this because most teachers who teach theory to this degree actually give two lessons per week--a playing lesson and a theory lesson. But I do always try to keep my lessons as short as possible so they're not super fatigued by the end. I want to end the lesson before they want it to end, which will keep them coming back for more rather than dreading it every time. And once I release them, I'll take a few minutes to write down in their book any instructions I feel they'll need so they can refer to that every day when they practice. For some reason they feel like it's a special surprise when they open up their practice book the next day and see what I've written. What do I write? Usually it's just a list of the things they need to do during their practice session each day: "[Draw six practice circles] 1. Flashcards. 2. Lesson books pages 18-19." And so on. I always add reminders as well about principles they need to focus on that week, such as to make everything they play beautiful, not to look at the keyboard, remember to do their pre-read and post-read routines, keep the rhythm, etc.

As a parent teaching my children, it's very tempting to do lessons at different times each week, whenever it happens to be convenient. But that will almost certainly mean they don't get their lessons as regularly as they should. So we've found that it's important to have an assigned lesson day and approximate time each week on our calendar (e.g., every Wednesday after dinner).

DAILY PRACTICE ROUTINE
I have them do their flashcards at the beginning and the end of their practice sessions. And they work through their lesson books. Practicing piano using the principles I write about is really hard work, so they probably shouldn't be practicing more than 30 minutes when they're young (maybe only 15 or 20 minutes when they're really young), but I don't set a time limit on their practicing length or have them keep track, which I think is very important. I don't want them watching the clock when they're practicing, seeing the minutes tick slowly and painfully by. Learning music should not feel like junior high math class! I want them focused and motivated to carry out all the instructions each day and learn the things they need to learn, which makes for a much more satisfying practice session.

Sidenote: As homeschoolers, we have them integrate their piano practicing into their school day. This makes them way more likely to practice, and it also allows them to do it at the best time for them each day when they have the energy they need to dedicate to it. This is a huge perk of homeschooling, and it's one of the reasons we chose to keep at it. When my kids went to public school, they were always exhausted at the end of the school day and had zero motivation to dedicate to hard work like piano practice, so it was a daily struggle to get them to practice, which sometimes made it a negative experience for them.

YEARLY ORGANIZATION
We usually only do piano lessons during school times. Vacation times are a good excuse to give them a break from piano so they don't get too fatigued from doing it week after week ad nauseam. In general, the goal is to finish one level each year, so sometimes this means we'll do piano during some non-school weeks if it means they can finish off the level before stopping for a while.

I mention this in Part 3 as well, but it's important to regularly mix in some change-of-pace weeks. These are times to have them focus on improving the skills that are under-represented in your method books (typically this would be improv, playing by ear, composition, and sight reading). Since it's something completely different, it's refreshing! And because every skill benefits every other skill, you might find that they come back to their lesson books not only more refreshed but also more equipped to understand the things they're learning. You'll probably also find that they start playing the piano just for fun more often, doing some improv or picking out the melody and chords of a song. I'll either have them do a playing-by-ear week, an improv/composition week, or a strictly-sight-reading week.

Once or twice a year, I also take a break from the piano method books to spend one or two or three weeks memorizing a recital piece. Now is a good time to emphasize again that one of the most important things that determines how much a piano student enjoys playing is how much they like the songs they are learning. So it's essential for you to identify their favourite songs and have them learn those as their recital pieces. Find a version that will be challenging (a little above their current reading level) but that won't take forever for them to learn.

These breaks from the usual routine are refreshing and motivating for them, so I believe they end up learning better and faster because of them.

LEARNING RECITAL PIECES
Most people think memorizing a recital song is best done by playing it over and over and over until it's finally learned, and then playing it over and over some more until it's finally memorized. This is a recipe for them hating the song before they even get to perform it! And it's ineffective. Here's how I have my kids learn recital songs:

Step 1: Analyze the song and divide it up. Analyzing the song will help them recognize the overall structure of it and especially pick out the repeats. This makes it less daunting because they can see that even though, for example, it's 100 measures long, they only have to learn 40 or so. Next, they are ready to divide the song up into short sections for learning. To visually divide up the song into sections, I have them draw a vertical line extending a measure bar line up. Then, when they're learning each section, I have them include the measure before and the measure after in their practicing of that section, which prevents them from stumbling when crossing sections.

Step 2: Start memorizing first. Have them choose the most difficult section of the song and memorize it before they ever play it. Then have them practice playing it from memory. They'll have to refer to the music often to make sure they've memorized it properly. And if it's initially too hard to memorize and play hands together, they should do hands separate and then, when each hand is solid enough that they can play even faster than performance speed with ease, then they can put them together.

Step 3: Do the other sections. Then they choose the next most difficult section and do the same thing. And proceed like that until they've memorized and can play all the sections. They are purposefully done out of order like this so it will be like a prize at the end when they're finally able to start putting together the sections to make up one amazing beautiful song. Practicing the whole thing really slowly is a good way of testing whether they really have it memorized (as opposed to just relying on finger memory to know which notes come next). They also should be able to mental play the whole song from memory since they've learned it like this.

This process is so much more efficient because they're always playing the song from memory, and it's also more enjoyable for them because they aren't tired of the song before they even finish learning it.

There are also performance techniques to teach them, but one of the best things is to get them to do little performances for family and friends before the big recital. Performing in various settings also helps cement their memory of the song in a way that is separated from their usual environment where they learned it. And as long as they understand that they just need to do their best and have fun, they can relax about how many mistakes they make or how anxious they feel since they can't directly control those things. When they're more experienced, the overwhelming desire to show off/share a beautiful emotional song with the audience should silence most of their performance anxiety.

TEACHING THE 'OTHER' SKILLS

You'll probably find that you need to supplement your method books to cover all the crucial aspects of fluency in the language of music. You could accomplish this by finding a book specifically dedicated to each skill, or you could make up the activities yourself. The strategy you choose probably depends on how experienced you are as a pianist. But here are some thoughts to get you started on teaching some of the other skills:

• Teaching improv: An easy start is to have the left hand do a simple and set chord progression (using only chords they've learned already), and allow them to play around with the notes that fit that chord in the right hand. Then have their hands switch roles. Another beginner activity, which also helps them see the chords in the songs they're reading, is to have them add notes to the song they're reading. Use a song that is easy for them to play already so they should already be easily seeing the chords in the song, which makes it fairly straightforward for them to add notes here and there that fit those chords. You can also play a set chord progression for them and have them improvise above that (Heart and Soul, anyone?). A more advanced skill would be for them to improvise along with a song you're playing from Spotify. They would have to first recognize the chord progression the song uses to be able to do this (see the playing by ear section). Another foundational skill to help them improvise well is to learn "stock patterns." These are standard ways of playing the harmony chords. For example, an Alberti bass, or a tonic-dominant-tonic arpeggio. When they know a bunch of those, they can vary pretty easily what their left hand is doing without too much thought, which allows them the bandwidth to be extra creative in the right hand. These stock patterns also have room for changing up the rhythm, changing which notes are included in a solid chord, changing the order of the notes in a broken chord, etc., so there's a ton of variation available. And of course I shouldn't forget fake books, which only give the melody and chord names and you fill in the rest. I have heard there are some good books out there that teach how to use fake books. Regardless of how you do it, they should definitely get some experience playing from a fake book eventually.
• Teaching playing by ear: The first step is to understand the big-picture structure of the song (e.g., ABABCB). Next, they need to be able to pick out the melody and play it. After that, they can start adding harmonies. The biggest challenge is figuring out which chords are being used to support the melody. One thing that will help is getting them to just play the tonic of each chord they think is being used along with the melody. Later, they can add in full chords and other fun stuff, but identifying the melody and the chords used is where everything starts.
• Teaching sight reading: The majority of someone's sight reading ability comes from having amazing music reading skills in general, plus being able to do an effective pre-read routine. But there are other skills specific to sight reading. One is figuring out the art of fudging, which is dropping the less important notes. I don't know of a good way to teach this other than through experience doing it. A hint, though, is to take note of any accidentals and make sure to play those, because they are usually important notes. Another sight reading-specific skill is figuring out how to minimize mistakes by creatively making them fit with the rest of the music as if they were meant to be there. Familiarity with the repertoire in the category, or, even better, how that specific song sounds, can make it way easier too. It's important to emphasize that when you're sight reading, you have to keep the rhythm until you finish the song. No pausing to get a tricky chord or going back a few beats to fix a mistake. Keeping the rhythm until the very end is a way higher-priority goal than getting all the notes right, and if kids understand and do this from the beginning, it will push their sight-reading skills up much faster. I always tell them to keep the rhythm and make it musical. I don't tell them they have to get all the notes right because that's less important.
• Teaching composition: People often start songs but never finish them. A little planning and thought at the beginning can reduce this. So have your student first decide on what they want to convey and also on the big-picture structure (again, the ABABCB thing). Next, they need to decide on the elements of music that they want to use. These are things like key signature, time signature, the rhythms, the general style of music, the cool harmonies they might want to try, the overall dynamics, the chord progression, etc. After they've decided all those things, have them play the whole song through according to their plan. This is improvising, which always includes parts that will work well and parts that will be horrible. After that, they refine by keeping the parts they liked and change the horrible parts. Initially, they probably only need to annotate (or have you annotate) just enough for them to remember the key parts that they like. Song writing, like any skill, requires practice. They shouldn't expect to be churning out amazing songs every time. I have heard a few different famous composers say they would write a song every day, and it was only after a few months or even years that they started to like what they were coming up with. Composing is also a process of discovering what they like in other songs and figuring out why they like those things and then trying to use them. Composing with others is another way to get expand ideas. You can assign them to compose a short song themselves, or you can do it with them a few times first, depending on their ability. Also, some people are strong composers but weak lyricists, and vice versa. So more effort might be needed on one or the other to get good at it, or you can work with someone who is strong in the area where you are weaker.
• Teaching listening comprehension: I'm actually not sure how to do this one. And I haven't read or heard anything helpful on it either. What aspects of listening comprehension are the most important? Figuring out the chords used in a song is important if you want to play by ear well, but I don't necessarily have a process to get better at it other than just doing play-by-ear activities. If you are a composer, figuring out elements you like is important so you can integrate them into your own writing. Maybe the most important aspect is simply grasping how the song's lyrics and music combine to create a mood, which comes by paying attention to it, and which allows you to connect emotionally to the songs that resonate with you.

This concludes my music and piano teaching series. I hope it helps others succeed at helping their children become musicians because music can be one of the richest joys in life!

Piano Teaching: The Skills You Need to Focus on From the Start

This is part of my piano teaching series. It's really important to read each post in order!

Intro: Discusses what the overall goals should be for music lessons

Part 1: Explains the principles of how piano should be taught to achieve those overall goals

Part 2 (this post): Draws upon those principles to list the specific skills that need to be emphasized from the start

Part 3: A compilation of additional insights to make their learning effective and fun

Part 4: Shows how it's all implemented by detailing my lesson structure

Regardless of the method you are using to teach piano, the following specific skills should be a continual focus. They are the core skills that can make or break anyone's effort to become a lifelong proficient pianist. If you haven't read the prior parts in this series, you should do that first--they provide the context for these principles so they make sense.

1. Never look at the keyboard. My very first lesson, I show them how the black keys are grouped into "twins" and "triplets" and help them understand that repeating pattern. I then see if they can find multiple sets of twins or triplets without looking. From this point on, they are pretty much never allowed to look at the keyboard. When they place their hands to start a song, they do it without looking. When they need to jump up an octave or two, they do it without looking. And they get surprisingly fast at it very quickly! Sometimes I'll also show them videos of Stevie Wonder playing, hands flying across the keyboard, to emphasize how unnecessary looking at the keyboard is.

2. Play up among the black keys. This skill goes with the first one. To constantly know where their hands are on the keyboard without looking, they need to constantly feel the black keys. This doesn't mean they have to be playing way up near the fallboard, but at least their index, middle, and ring fingers should be able to feel the black keys.

3. Pre-read routine. How should a student approach a new piece they've never seen before? There is a set process they should be taught to go through every time. First, look at the title and the lyrics to get a feel for the song's emotion. Next, look at the clefs, key signature, time signature, and tempo. Then look through the music itself, especially looking for things like dynamics, harmonic and rhythmic patterns and repeats, potentially tricky notes or rhythms, which kinds of chords are being used, bass patterns--basically all the theory they've learned up to that time so they will be seeing all of it in the music rather than just seeing random notes. Once they've looked through it, they should mental play it once (described more below). After that, they are ready to play the song, so I tell them not to worry about remembering all that stuff they just went through and to trust their brains to remember it for them so they can focus on enjoying the beautiful song they're playing, which will make their playing more musical and their practicing more enjoyable for them.

4. Post-read routine. I usually only have them play a song twice on any given day. After they play it the first time, I have them go through a post-read routine of looking through the song again to see where they made mistakes and to diagnose what went wrong. Then they play it a second time, and the goal is to have fewer mistakes. By that point, they've probably exhausted the majority of the music reading practice they can get from that song that day, so it's time to move on to the next song. I usually only have them practice each song for a couple days, for the reasons described in the prior posts. Fortunately, the piano method I use is designed to give them new songs every practice day.

5. Keep the rhythm. When playing a song, nothing is worse than stutters and pauses for killing the musicality of it. And stutters and pauses are an absolute no-go when you're playing with a band or for vocalists. The student needs to know from the start that, for every song they play, they need to decide their tempo (assuming they can't play it at the recommended tempo) and then keep that rhythm. Even when it's their first time ever playing the song, they need to do this. If they make mistakes, they should play right through them. It's more important to keep the rhythm than it is to get all the notes right. The right tempo is fast enough that it's challenging but slow enough that they can get most notes right, which is often pretty slow for the first few plays through. Determining the right tempo is a skill they'll have to develop. I will often have them use a metronome when I'm seeing them slack on sticking to their chosen tempo, but make sure you don't have them use it any more than how long it takes for them to gain a good understanding of the song's rhythm or it will interfere with them feeling the movement and rhythm of the song.

6. Everything they play should be musical. Even beginners doing scales or reading a brand new song can play musically. The unfortunate typical process of learning songs is to get the notes and rhythms right first, then to focus (if you get to it) on all the other things that actually make it sound like music. The problem with that method is that all they're learning is to hit notes on a piano in the right order for the right length of time rather than learning to make music, and it ingrains in them the habit of playing non-musically. So I remind them often of my expectation that even their scales and their first read-throughs should sound beautiful with dynamics and feeling and all. This is admittedly tough for them early on, but the pre-read routine helps immensely. When they are always playing musically, the process of learning the piano becomes much more enjoyable because they're experiencing beautiful music every time they sit down to practice.

7. Absolute pitch. This is not something that "people are just born with." There's nothing about 440 Hz that is organically connected with our inner ear; rather, some people have just learned to remember what arbitrarily chosen pitch corresponds with what arbitrarily named note. And this means that, for most youngsters especially, it can be learned. I give some details about how I do this in Part 4 of this series. This skill is much more than a party trick! It allows you to mental play any song anywhere. It allows you to compose in your head when the idea strikes you and no piano is around. It allows you to understand the music you're hearing in a more intimate way because you can also hear exactly which chords are being used, which unlocks greater learning potential even just from listening. It allows you to always sing in pitch, and to play a fretless instrument in pitch. That's just a start.

8. Mental play. This is the process of seeing the music in your head and also hearing each note as you play the song in your head. It's a huge skill for practicing memorized pieces in a way that doesn't rely on the oh-so-fallable finger memory, which makes you more reliable during performances. It's also a way to look through music you've never heard before and learn it all in your head quickly before you've even played it, which is incredibly useful whenever you're asked to play something without more than a moment's notice. Even without absolute pitch, everyone can develop relative pitch so they can hear the intervals in their head from their chosen starting note. So, teaching quick interval recognition is part of this. I've heard stories of some of the great pianists who have been known to memorize whole pieces on a single flight and then play it perfectly the first time when they arrive for their concert. If the ability to mental play is combined with absolute pitch, incredible musical potential is unlocked. Integrating mental play into their daily practice is easy when it's part of their pre-read routine.

Check out Part 3 of the series for the other most important things I try to do when I'm teaching.

Strategies for Making Piano Lessons with Your Kids Successful

This is part of my piano teaching series. It's really important to read each post in order!

Intro: Discusses what the overall goals should be for music lessons

Part 1: Explains the principles of how piano should be taught to achieve those overall goals

Part 2: Draws upon those principles to list the specific skills that need to be emphasized from the start

Part 3 (this post): A compilation of additional insights to make their learning effective and fun

Part 4: Shows how it's all implemented by detailing my lesson structure

I believe that, for music teaching to be successful at achieving the goal of fluency in the language of music that leads to lifelong use, there are two pre-eminent goals. The first is to teach effectively. That's what the prior posts have primarily focused on. The second is to make it fun. You, as a music teacher, can do a lot of other things wrong, and those things ultimately won't matter as long as you are teaching effectively and making it fun. All of the points listed below are things I think are important at accomplishing one or both of those goals. I add new ones to the bottom of the list as I figure them out, and I review the list occasionally to make sure I am doing my best to implement them.

Accountability for practicing is crazy super important. Every piano student should have a daily practice log that allows them to check off whether they've done a full practice session that day. And I make it a point to look at it first thing every lesson. I don't have them write how long they practiced because I don't want them to be thinking about the length of time they're practicing; instead, I want them to be focusing on getting a quality focused practice session in 6 days a week, which could take 15 minutes some days and 45 minutes other days. The other part of accountability is making them perform during every lesson. They need to know that they will be required to play for me the songs they worked on that week, so I have them play them every lesson.

Sidenote: I avoid bribes because those have been proven through quality research to take something they're intrinsically motivated to do (or we hope will eventually be intrinsically motivated!) and turn it into an extrinsically motivated thing, causing them to lose the intrinsic enjoyment of the thing. We don't want them to choose to practice only because they want a treat or a prize--we want them to choose to practice because they have a desire to continue progressing and experiencing playing beautiful music.

No mnemonics for memorizing notes. Every Good Boy Deserves Fudge (and the others) should burn. A mnemonic adds an extra mental step to identifying the note. First they see the note, then they go through the mnenomic, then they finally identify its name. Instead, they need to be able to know right when they see the note exactly which note it is without any extra mental steps that will slow down their sight reading. People may think that those mnemonics gradually get dropped with time, but they often don't. I know from personal experience, and from medical training, that they become a mental habit. Sure, going through that extra step gets really fast over time, but it's still slower than just sight recognition without any need to mentally go through a mnemonic. So, instead, use randomly ordered flash cards. While sitting at the piano, they should be able to see the flashcard, immediately name it, and then find the note and play it without looking at the keyboard. It will take them longer to learn them, but it's one of the best time investments a young pianist can make. And if flashcards just aren't working, Treble Cat and Bass Cat can, if done right, be pretty helpful iPad apps for them to do in addition to the flash cards.

They should look forward to their lesson every week and come out of it excited to learn the next week's material and excited about music in general. The most important way to accomplish this is you, as the teacher, being full of excitement and energy about piano and music in general. And every time they play something for you and turn to see what you thought, make sure you are smiling and have something super positive to say about it. This has made the biggest difference in whether my kids cry during lessons or laugh and have fun. So remember to laugh and joke with them during the lesson and just enjoy the time you're spending together. Of course, they'll dread their lesson if they didn't practice hard that week, but hopefully the accountability pieces will help with that.

The combination of being encouraging/understanding and concomitantly having high expectations is a tricky one. I want them to know that I expect their best effort, that nothing else is acceptable. So if they don't practice that week or if their practice sessions were ineffective and the didn't end up learning what I think they could have, I don't tell them it's ok, and I make sure I'm clear that I expect better from them. There have been tears. That doesn't mean we can't still have fun during the lesson, but it's ok for them to feel that shame, sadness, and regret that always come in life after we don't do our best at something. I have them perform near the beginning of the lesson to get it all out there and they can go through that (if necessary) early on, and then hopefully by the end of the lesson they'll be having fun and leave feeling excited about the piano again. A big part of that is reassuring them that I know they can practice every day and work hard, and emphasizing the reasons they're learning piano in the first place and also the improvement I've seen in them recently.

Teaching them how to practice effectively is huge. Getting a full practice session in every day is only half the battle--they also need to know how to spend that time effectively. The for-with-by principle applies. First you have to do something FOR them, then WITH them, then eventually they can do it BY themselves. Sitting down with them and giving direct instructions on how to do each part of their practice session is how it starts. Then, after they've learned those things, you scale back how much you direct and let them do some of it on their own but with your frequent directions. And, eventually (after a month or so, probably), they can do it by themselves. But your work isn't finished there! You need to "audit" their practice sessions occasionally (every couple months, or sooner if you notice they're not learning much from lesson to lesson). I will just sit there and not say anything. Of course they act differently when I'm sitting there, but it's still an enlightening endeavor. I will try to look like I'm not actually focusing much on what they're doing by pretending to read on my phone or something, and I'll also furtively take notes on my phone about things I noticed that they should do better and how much time they wasted on different things. The most common time waster is what Adam Smith called "sauntering." It's the moments in between switching tasks where we get distracted instead of just moving right to the next task. After the practicing audit, I will talk to them about what I saw and what they did well and can do differently. And, optimally, I will sit with them the next couple practice sessions and not say anything except to gently remind them of those things if they're doing them wrong again. This skill of knowing how to practice effectively may determine their trajectory of improvement as much as any other thing you teach them.

The find-the-note game. To hone their note-finding skills, I occasionally play a game with them where I point to a single note or chord in a song and they have to first immediately name the notes. Then, without looking at the keyboard, they put their hand on the keyboard and find the right notes and play them. It's practicing both note identification and location awareness.

If they're just getting tired of moving through the piano books week after week, give them a break! This can be in the form of an actual week or two off occasionally, but usually it should be in the form of switching up what they're learning. I have started planning regular change-of-pace weeks in to my lesson schedule to prevent wearing them down like that. What can you have them do? Take a look at which skills are under-emphasized (or not taught at all) in your method books, and have them focus on those things. See the intro to this series for a reminder of the different skills: listening comprehension, speaking (in the four different ways), reading, and writing. The method books I use do a great job covering most skills, but they don't integrate any specific listening comprehension activities or playing by ear activities, so that's what I have my kids do. Another option is to help them choose a couple recital pieces to start memorizing over the next few weeks. Remember, these recital pieces should be ones that they absolutely love! All these breaks from the usual routine will help them be refreshed and more excited about coming back to their regular lesson books, and they will help round out their musical training.

They need experience performing regularly, even informally. Opportunities can include accompanying the family when you sing the opening song during a family home evening, performing a song for friends, and also doing an occasional mini-recital with a few other kids plus friends/neighbours. Performing regularly helps the students be motivated to work hard looking forward to that goal, it increases their performance confidence, and the students remember that the ability to play the piano is a useful skill in our culture. All of these serve to help them remember why they're working so hard learning the piano.

Don't get stuck trying to over-explain things and expect them to understand it perfectly the first time. They'll see it again and will understand better each time they come across it.

Have an end goal in mind, and remind them of it occasionally. The end goal, as I've said many times by now, is for them to achieve basic fluency in the language of music. But how do you know when they've gotten there? You have to look through the method books you're using and figure out at what point you think they will have achieved that. If they are designed well, your kids will be learning the theory and technique along with the songs each week, so its a fairly simple matter of checking the difficulty of songs they're required to read. If they are reading intermediate/advanced songs, that's probably enough. Another hint you can use is simply to look at how many total levels your method books have. The writers of method books tend to stop writing more levels after they've imparted all the knowledge necessary for basic fluency in music, whether they were thinking about it that way or not. For example, the method books we use have only four levels, but by the end of the fourth level, my kids will be playing pretty challenging songs. So, the well-defined end point for my kids is to finish level four, after which they will be allowed to either continue their piano training (starting to focus on the specific kind of playing they enjoy most) or to start learning another instrument. They all look forward to this time! And it turns piano lessons from an impossibly long journey without any clear destination into a clearly defined achievable challenge.

Any endeavor that takes years of hard work to become proficient is susceptible to frustration and discouragement. Remember: more than anything, they need a teacher who can cheer them on, recognize their accomplishments and growth, and just make it as fun as possible during that long long process. Feeling like they're learning and doing well will be more motivating than almost anything else, and much of that comes from the teacher.

If they love a song and it has piano sheet music, splurge to get the official version so they can learn to play that song just like the real thing. Motivation is way higher when it's a song they really want to be able to play. They're more likely to get into that "flow" state of being and really experience the song. And moments like that are the best reward for learning the piano, so they need to experience it as much as possible. Really every time they are required to spend time learning a song by rote, it should be one they absolutely love.

Teach them that the person who composed any given song had a feeling or emotion or idea that they wanted to convey. That is expressed in their notes and notations, and it's amazing to get to hear that by playing the song beautifully as they envisioned it.

Prophylax against the frustration of making mistakes. If a child is a perfectionist or is just generally intolerant of mistakes, you can prevent many tears by reassuring beforehand that, each time they play a song, the purpose is not to do it mistake-free, but rather to get better at reading music (practicing all the skills they are being taught). So making a million mistakes is totally okay as long as they are doing their best at implementing the skills you're teaching them. Tell them to choose beforehand to have a good attitude and have fun doing their best and not to worry about making mistakes.

Teach them one skill at a time. Music reading is challenging because it requires you to integrate many skills all at once. Our brains don't have the bandwidth to focus on many things at once, which is frustrating. But if you help them first become proficient at each individual skill they'll be using in the song they are about to read, that will make things much easier. For example, rhythm is easy to separate out. If the song uses dotted eight notes paired with sixteenth notes, they need to do some counting and clapping practice with other songs that use those same rhythms. The same can be done with articulations, dynamics, chord progressions, bass patterns, and pretty much everything that makes up a song!

Try some variations on sight reading to improve accuracy and quickness. I haven't verified this works, but I've heard some talk of having students occasionally sight read a really simple song super fast to get used to lots of notes coming at you in rapid succession. Alternatively, they can get practice in accuracy by sight reading a difficult song incredibly slow (without any mistakes).

Remind them of the goal of all this reading practice. If you have a child who loves to read books, talk with them about how, when they're engrossed in a great book, they're not thinking about the skill of reading itself--they're just experiencing the story. Music reading can (should) become the same for them. They will one day be able to read difficult pieces effortlessly enough that they are just experiencing the amazing song rather than struggling through (and focusing on) very effortful process of music reading.

Pop quizzes to help develop location awareness. Occasionally I'll ask them to stop what they're playing and not move their hands from the keyboard. Then I'll ask what notes specific fingers are on. I think this will help them realize that location awareness can be a continual thing so that they will start to automatically be tracking all the time where their hands are on the keyboard.

Tell them why you're doing what you're doing. I believe that when the student understands why the teacher is asking them to do something, it not only helps them understand there's a purpose to it so they're more motivated to follow the instructions, but also it helps them stay anchored to the overall purpose of the music lessons and how you're getting them there. This turns them into an active thinker and participant in the process of teaching them rather than allowing them to be a mindless follower of instructions. They will probably come up with lots of ideas that make the process of gaining fluency in the language of music more effective and fun for them.

Be an advocate, not an adversary. To be an advocate means to be utterly confident in their ability to achieve what you are asking them to do. Even when giving correction, an advocate radiates support and knowledge that the student can make those corrections. This allows the student to not stress about things because they know the teacher is on their side no matter how well or poorly they do each week in their lessons. They look forward to hearing from the teacher what they can do better and are confident they can do it. An adversary is one who accuses, one who tells the student what they've done wrong and treats it like the student isn't good enough and isn't trying. They (usually unintentionally) cast doubts on the ability or potential of the student to grow and improve. They are the scary bad guy who the student is stressed to perform for, and that relational context severely hampers not only their growth and self-confidence as a budding musician but also their enjoyment of music as a whole. For me, becoming an advocate music teacher has been a learning curve, and it requires deliberate thought before each lesson to remember how I should interact with them and respond to their mistakes and their successes.

Every song they perform during a lesson, they have to perform it without losing the rhythm. I have found that they start to practice differently if they know that, during a lesson, if I ask them to play a song for me, they are required to play it without losing the rhythm. If they lose the rhythm, even by a couple beats, they have to play it for me again. This doesn't have to be harsh, and I'll try and say things like, "Oh that was so close! I know you can do it this time!" I sometimes have to remind them that I am not asking them to play without mistakes. They can make all the mistakes they want and it's still good enough for me as long as it's not completely noise (Category 0, which I talk about in Part 1) and they keep the rhythm. This is to strongly emphasize the point that keeping the rhythm is more important than getting all the notes right. It builds sight reading skills by helping them prioritize in their minds right from the start that rhythm comes before notes, so if they have to drop a few notes or fudge here and there, that's ok. Chances are, people won't notice most dropped or incorrect notes, but losing the rhythm totally kills the music.

Occasionally have them mental memorize a song and play it from memory. Sometimes it's fun to have them do a pre-read routine on a new song (a short one) that they've never seen before and then take away the music and ask them to play it from memory. I usually don't warn them beforehand. This is a great test to see if they are truly understanding the music when they are analyzing the song, and it's also a great way to make sure they are doing deliberate and thorough pre-read routines.

Their weekly reward: a song. If they are learning the way I have described in my other posts, they are playing new songs almost every day, which is a lot of effort. This pushes their reading level up quickly, but it doesn't allow for much time playing songs that are easy enough that they can really put all their focus into playing musically. The occasional recital songs they learn help with that, but I think giving them the opportunity to choose their favourite song each week to spend a little extra time on is important too. This is fun for them because they enjoy hearing the song, it's a nice break from the mental effort of reading new material all the time, and it helps them regularly focus on playing extra musically. The reward for a good week of practice should not be a treat or sticker--it should be the joy of the music itself, and this weekly song can be that for them!

The five categories of a song. I love exhaustive, mutually exclusive categorizations, and it's helpful to divide a song up that way. If you think about playing a song perfectly, it involves hitting all the right notes at the right times at the right strength for the right length of time. In other words, you have to get four things right: (1) rhythm, (2) notes, (3) dynamics, and (4) articulations and phrasing. Then there's a fifth category, musicality, which is what you use that tells you how to put together all the other four into the most beautiful song you can. Explaining these five things to your students can help them analyze their playing to see why the song maybe didn't sound as good as it could have.

Practicing is different than playing. When they're practicing, they need to focus on getting through the things that they are supposed to practice. After that, they are free to play whatever they want! I am not sure how to encourage them to play in addition to practicing, but a good start is probably telling them the difference between the two and saying that you want them to play as often as they desire. Just make sure they understand that they need to practice first, which will help them enjoy the playing more because the practice session won't be looming over their head.

Model the love of music in any way you are capable. When your kids see how much you love music, they will be more motivated to learn. This could mean sharing with them an awesome song you just discovered, or it could mean you playing an instrument or singing regularly when they're around. Taking them to musical performances is another great way to accomplish this.

At recitals (concerts), don't just have them play songs they learned by rote. If learning by rote is only one way to speak with an instrument, why would you limit their concerts to just that? I think the optimal would be for them to demonstrate their ability to "speak" with their instrument in the four different ways. This means they'd play a song they learned by rote, they'd sight read a song a song you give them right then, they'd get to improvise a song (maybe as part of a duet with the other person playing a chord progression?), and they'd perform a song they figured out by ear. And, I would add a fifth one: they should get to perform a song they composed themselves! It can be extra gratifying for a piano student to hear from people that they loved a song the student created herself. Five songs might be too many depending on how many students are in this concert, but keeping all the songs really short and moving things along quickly could make it possible.

White out the unnecessary fingerings in their music books. Sometimes fingerings are written in the music to help with a tricky fingering passage, and those are fine. But many times, music has fingerings written in all over the place for no reason whatsoever. And for beginner music readers, their eyes will be drawn to those rather than the notes, so they will not actually be reading the notes so much as playing by number. This interferes with their learning, so you need to white out those unnecessary fingerings!

Help them understand the interconnectedness of all the activities they're doing. All the different activities of a complete musical curriculum (as I've described in the earlier parts, the purpose of which is to achieve fluency in music) are mutually beneficial. For example, if a student is regularly improvising, they will naturally start reading music better because they'll be seeing the chords in the music more reliably. Composing has a similar benefit. Learning to play by ear improves their improv skills and their listening comprehension. And so on.

If you are taking on the role of music teacher and parent, it's a lot of work, and that's ok. I have noticed that sometimes it feels like I am spending a big chunk of every week teaching my kids music, and that's okay. Professional teachers only teach each student for 30-60 minutes per week and then rely on the parent to do the rest of the practice supervision and such, but I'm doing both roles with multiple kids. Recognizing that helped me feel more ok about it. And it's way better than not having anything worthwhile to do with your kids! The key, though, is making sure it's a fun and uplifting experience for everyone. If it's harming your relationship with them, no amount of fluency in the language of music is worth that. But hopefully it can not only strengthen your relationships with your kids, but it will also teach them a lifelong skill and give you guys something to do together (playing music) for life!

The sight singing game. Have them try singing the melody of a song for you before they are allowed to play it. It's fun to see if they can get it all correct!

When doing technique activities, they should only play them as fast as they are able to do so perfectly. Every time they play it wrong, it ingrains the wrong movements in a little bit more, so they need to go slow enough to get it right every time.

When learning chords, make them name every note before playing it. This makes sure they understand very clearly which sharps or flats they're playing, and, by extension, which white notes they're not playing. If they can have the notes of the scale clearly understood in their head before they even play the scale, they will learn it much more thoroughly because they will understand it in their mind too (as opposed to learning the feel of it in their fingers without much understanding).

There is a difference between practicing an instrument and playing an instrument, so set up their environment to facilitate self-directed playing as well. Only when students of an instrument start spending time with that instrument in ways they want, outside of the required practice that the teacher has assigned, will they really start to own that instrument. I talk to my kids about the difference between practice and playing, and I encourage them to play any way they want (as long as they're using proper technique still!). I encourage them to figure out by ear their favourite songs, or to pull out a book and sight read some songs whenever they feel like it. Anything! The more they start playing the piano outside of their practice sessions, the better. But make sure it's not done as a means of procrastinating the daily practice session. We recently put a shelf close to the piano dedicated to holding only piano music, and we organized the music by difficulty level. The lowest shelf has super simple music books. The next shelf up has slightly more difficult music. And so on. There are 5 shelves. We put a green dot on the spine of all the shelf 1 books, a blue dot on the spine of all the shelf 2 books, etc. Then we brought them to the shelf and explained it to them. We showed which shelf each child is at, and made it clear that they can pull out any book from that shelf (or any of the lower ones) and sight read that music any time they want. The coloured stickers will help maintain the organization long term. And as they get better, it will open up the next shelf up to them for playing. I remember growing up and not really ever pulling out music books to play for fun because I didn't know which books would be good, so making it really obvious like that will hopefully help facilitate them randomly pulling out a book and playing from it much more often. There is a variety of different types of music on each shelf as well, so there will be music for any mood. And as they spend more time playing just for the joy of it, the more they will enjoy their instrument and be motivated to continue progressing.

Gasp! Why We Are Trying Homeschooling

People have started hearing that we're going to try homeschooling, and they always have two questions/concerns: (1) why!? and (2) what about your kids' social development? I'd like to respond to those.

Why!?

When we lived in Cleveland, we knew we'd only live there for about 2/3 of our eldest's kindergarten year (we'd be in Thailand for the rest of it, and then moving elsewhere after that); we also heard very concerning things about the elementary school we were zoned for. These two factors led us to first consider homeschooling her for her kindergarten year. Whenever we're delving into something new, we like to be informed, so we read some books about homeschooling. Had it not been for this unique circumstance and this reading, I don't think homeschool ever would have crossed our minds. Thinking back, it strikes me as strange that I never would have thought, "My children's education is crazy important--I should understand and seriously consider all my options before I decide which one is the best." Instead, I would have continued to think that homeschooling was only chosen by parents who think their children couldn't thrive socially in public schools, as if it's the obvious worse option. But now I have found that there are tons of parents who choose to homeschool their children for a different reason: they've considered their options and decided homeschooling is the best one for their family at that time.

But why do we think it's the best option for us right now? There isn't a single, all-encompassing reason. Here are the big ones though:

• Quality of the education: Children learning at their own rate and having the freedom to spend more time on things that are of interest to them at a specific time is way more effective, not to mention that we feel strongly we can teach using methods that do a better job of fostering a love of learning and an understanding of how to learn for themselves. And, based on others' homeschooling experiences and our experience this year with public school, homeschool will only take a few hours/day, which leaves so much other time for them to read for fun, practice instruments, learn Japanese, learn how to cook and do laundry and shop for groceries, serve in the community, get to know the elderly, play outside, and even play with friends (more on that in the next section).
• Flexibility: My job will, one glorious day, become very flexible with weeks I get off and locations of where I work. Our dream is to make the most of this by living in different places, where we will learn different languages and cultures and, most importantly, get to know the people from those places.
• Home atmosphere: School days are tough--not only are they long and exhausting for our kids, but the mornings are stressful ordering them around to be ready on time, and the evenings are stressful when they generally come home tired and grumpy (but after-school snacks do help). They give the best of themselves to people at school and the worst of themselves to their family. And then when you add in weekday-night activities, there's very little quality and restful family time. Homeschool helps with that. Yes we're expecting homeschool to be stressful at times, but when those times come we'll have the freedom to do something else or send them outside to just be kids for a while. When we homeschooled our eldest for her kindergarten year, our home atmosphere was noticeably different. Our at-home time became more purposeful; it became a "there are exciting things to teach/learn and we're progressing in life" kind of atmosphere.

What about their social development?

This is something we've thought and prayed about a lot. First, since I'm into exhaustive mutually exclusive categories, I'll explain my categorization scheme of all the kids they come in contact of social interactions. Category 1 is their close friends, of which there are only a handful. Category 2 is their acquaintances, of which there are maybe a few dozen. Category 3 is strangers (kids they see but never actually meet), of which there are hundreds. Which ones are important to their social development? Close friends are by far the most important; from them your life is enriched and you learn how to maintain good and close relationships. Acquaintances are useful in that you get practice finding your place in and learning how to deal with social situations where there are groups of people you know only superficially. All the strangers at school probably don't contribute much to the development of social skills. But we do want our kids to practice the skill of meeting new people and forming new relationships (they need to be exposed to new people/strangers for that to happen).

How is this different in homeschool? They will absolutely have close friends, especially because we won't be homeschooling in a vacuum. There are tons of super cool families homeschooling these days, and it seems like there are more every year. We know a bunch already. We are also joining an organized homeschool thing where they'll actually have a weekly class with about 15 other kids. And we'll be doing lots of outings with other homeschool groups (Facebook is amazing for this), and then there will be playdates with friends from church and the neighborhood. Homeschool isn't the isolation sentence it used to be. Our kids might actually get more quality time (i.e., non-sitting-in-a-classroom-listening-to-a-teacher time) with their friends once we've made the switch to homeschool. And those other outings will allow for lots of acquaintances and new people to meet. Plus, when they're spending time in the community, they'll be meeting and forming relationships with so many different kinds of people (cultures, ages, etc.) rather than just the predominantly middle class white kids they have in their classes at the local public school.

For a long time I was concerned because homeschooling means our kids will have a smaller pool of people from which to make new friends--maybe they wouldn't meet that potential bestie out there in the public school! But I had an epiphany the other day. Even when there are lots of people in a public school, the people you almost always become close friends with are the kids who sit next to you in class. The making of best friends is not the rational test-all-the-flavors-and-choose-your-favorite-one process I'd always envisioned. It's actually an idiosyncratic and chance-based process from a very limited subset of people that chance (providence) places around you, whether that's the kid you get placed next to in class at public school or the kid who happens to live next door or the kid who happens to join the same homeschooling co-op. This is how friend-making works throughout life.

Conclusion

In discussing our decision with people, I've learned they have preconceived notions about homeschooling based on things they've seen, heard, or pictured in their minds--usually this involves images of kids sitting in their home all the time (with no outside social interaction and just becoming awkward) or kids playing all day every day ("wasting all their time") without actually learning anything. And I'm sure there are a lot of homeschools like that. But ours will not be like that.

There are lots of other things (i.e., people's concerns) that I haven't addressed in this blog post. I know that. But we're happy to hear and discuss all of them, on social media or in person!

I will add that, if you have/will have school-age kids and have never considered homeschooling, you should read a few select books about it so that you're not blindly making the default education decision for your kids. Most of you will still choose public school for various legitimate reasons, and that's awesome! It should always be a careful weighing of the costs and benefits of all the options. (Who knows, maybe a non-homeschool option will be better for our family in the future, too. We'll for sure continue thinking about all the educational options available to us in every location we live and decide all over again what's best for our children.) And even if you read about different ways to educate children and don't choose to homeschool, I promise you you'll approach education differently after that, which will improve how you contribute to their education when they're not at school. Ultimately a child's education is always the parent's responsibility, public school or otherwise.

Teaching Your Kids Piano? Which Books to Use (and How Piano Should Really Be Taught)

This is part of my piano teaching series. It's really important to read each post in order!

Intro: Discusses what the overall goals should be for music lessons

Part 1 (this post): Explains the principles of how piano should be taught to achieve those overall goals

Part 2: Draws upon those principles to list the specific skills that need to be emphasized from the start

Part 3: A compilation of additional insights to make their learning effective and fun

Part 4: Shows how it's all implemented by detailing my lesson structure

Before we had kids, we decided to make a rule that they all need to take piano lessons until they attain a certain level of proficiency. After that, they will continue to be required to take music lessons of some sort, but they can switch to whatever instrument they want. The problem is, piano lessons are crazy expensive! We can't afford them right now (thanks medical residency #indenturedservitude). But, I play the piano . . . and I like to teach . . . and that's how this whole teaching-my-kids-piano thing fell into my lap. [Update 4/1/2020: Looking back, I am so grateful for this, because I believe they're now getting better musical training than they could have gotten anywhere else, and I'm learning a ton as well!]

I soon realized, though, that I have no idea what books to use! Which ones will be the most effective and enjoyable for my lucky future students? Here's what I learned after way too many hours of study and research. May it save someone a little time one day when they have to go through this same process.

WHAT IS A PIANO METHOD?
First, for beginner students, you should probably get a "piano method," which is a collection of piano books all written by the same author(s) and designed to take a new piano student sequentially through all the basics of what they need to learn. You could instead use random books and make up your own method, but a formal method makes it easy because it organizes and sequences the lessons for you AND it gives your child an easy way to track their progress, which is critical for sustaining motivation ("I've finished the first of four levels! I'm actually accomplishing something!").

HOW TO CHOOSE A PIANO METHOD
So which of the tons of methods should you choose? When I read reviews or asked people myself, I was overwhelmed with information. The ocean of opinions basically boils down to this: piano teachers are pretty much pleased with any method that has fun music, is sequenced logically, and does a reasonably good job with how it goes about explaining things; they will rave about any method that additionally focuses on "comprehensive musicianship" (integrating other skills like ear training, improv, theory, composition, and so forth). When only considering those criteria, most of today's popular methods seem pretty equal, so just choose any of the popular method books that are catered to your child's age and Bob's your uncle, right?

Wrong. There's much more to it than that.

THE MOST IMPORTANT SKILL A PIANO METHOD SHOULD TEACH
When I started thinking harder about what I wanted my children to get out of lessons, I thought about all the people in the world who took thousands of dollars' worth of piano lessons as kids and now have nothing to show for it. Why? I explain why in my intro post to this series, and you should read that first if you haven't. Basically, they were not taught in a way that achieved any fluency in the language of music.

Fluency in the language of music involves a lot of skills that I won't rehash here, but I would argue that the most important one is the ability to read music fluently. That's the skill that will have the biggest impact on whether childhood piano lessons lead to lifelong piano playing or not. Think about it with me for a second. Without a really high music reading level, tackling any new intermediate to advanced song (i.e., pretty much every song they would want to play) requires way too much practice time and effort for them. They won't be able to sight read Christmas sing-alongs at a Christmas party, or accompany a congregation or soloist without way-in-advance notice. They won't be able to just sit down and play beautiful-sounding music for catharsis, or be a keyboardist for a band. Instead, the only songs they will play for the rest of their lives will be the few they memorized for recitals decades ago.

I want to emphasize this: A student's level of music reading is the number one thing that determines how much piano playing will become a part of their future life.

And even if your dream is for your child to become more than just a piano hobbyist (say, a professional pianist), music-reading-focused training will maximize their chances of ending up there as well. (But maybe you should fork out the dough to get a professional teacher . . . who teaches the stuff explained in this series, which is unfortunately a rare find.)

Therefore, regardless of the goals you have for your child's piano lessons, if you understand what goes into high-level music reading, you can start to separate out the best methods from the rest because you know which playing habits they should be fostering from the start. Here are the core skills (in no particular order) that determine someone's music reading ability and, therefore, are the most important skills for a young pianist to learn:

1. Intervallic note reading: Finding their next note based on its distance from the last one

This is faster than individual note identification, and they should be able to rely on this skill for reading most notes in a song--not that this means they shouldn't be lightning fast at individual note identification as well! But a good piano method will provide lots of practice--often in the form of transposition activities--targeted at helping them recognize all different kinds of intervals so they will effortlessly read notes this way.

2. Chunking: Recognizing groups/configurations of notes rather than just seeing individual notes (this is akin to reading word by word rather than letter by letter)

This requires a firm grasp of theory so they can understand music (i.e., see the chords in the music rather than just seeing a bunch of random notes). The theory taught should directly relate to the songs they will be playing that week so they can see it in action, otherwise they'll probably get in the habit of thinking of theory as a separate thing and will never see it in the songs they are playing.

Additionally (and this may be a shock to you), they also need experience playing in all the key signatures pretty early on (a "multi-key" method), which will help them start to recognize how different key signatures' note groups/configurations look on the staff and feel in their hands. If they get used to seeing the note groups/configurations in the music for only a select number of key signatures, they will only be able to chunk well in those key signatures, so the number of songs they'll eventually be able to sight read fluently will be limited significantly. Playing in every key from the start like this will help them to "be" in a key when they're playing in that key; the chords, the white and black notes used, and everything will feel natural to them. Piano methods that start out almost exclusively in C major, plus an occasional G major or F major, perpetuate the myth that songs with more sharps or flats are harder, when really it's just that they don't have experience being/thinking in different keys like that.

Improvisation activities are also super helpful to get them to start seeing the chords in the music they're playing. For example, giving them songs that don't have all the notes written in and requiring them to add those notes in themselves. This gets them to start chunking because it forces them to recognize the chords the song is using so they can know which notes will fit.

3. Predictive fingering: Basing their fingering on the notes they're playing now and the notes they'll be playing next

Predictive fingering is mostly developed via technique activities that help their fingers automatically know the right places to go; but, again, they need to be doing technique activities in all key signatures, or else playing in that unpracticed key will feel foreign to their fingers. The idea is to have their level of technique always be a little ahead of their playing ability so they can focus on all the other challenges inherent in reading music without also having to worry about the technical challenges.

The other aspect of predictive fingering is seeing beforehand the upcoming fingering challenges and adjusting their fingering accordingly. This happens when they're looking ahead in the music, which they can only do well when they keep their eyes on the music rather than looking down at the keyboard all the time (explained next). It also comes from them doing a pre-read routine before they read any song (discussed more in Part 2).

4. Location awareness: Always knowing exactly where their hands are on the keyboard and being able to find the next notes without EVER looking down

The only way to develop this location awareness is to play with their fingers amongst the black keys; the pattern of black key groupings will always tell them exactly where they are. Without this skill, they are left relying solely on their memory of where their hand was last placed, which is ineffective because everyone forgets so quickly on account of thinking about so many other things while they're trying to read music! And, even in those times when they do happen to remember where their hands are, they still have no means of jumping to semi-distant keys without looking down.

Piano methods that start out only in the key of C (plus an occasional song in F or G) facilitate the bad habit of playing on the ends of the keys because they're not requiring students to use any black keys, and teachers aren't always around during practice time to correct this, so this is another reason to choose a multi-key method. When location awareness is trained into a beginner pianist from the start, they will be feeling where their hands are automatically from pretty early on. You know they're doing well at this skill when you can tell them to stop playing and name the key a certain finger is on, and they'll be able to do it immediately without looking.

Location awareness facilitates much more fluent sight reading because they can keep their eyes focused on absorbing all the musical symbols on the page and looking ahead in the music rather than constantly interrupting that focus by glancing (even peripherally) at the keyboard.

Sidenote: I want to mention "position playing" here as well because it's a hotly debated teaching strategy, and it's used by many piano methods. Position playing is when the student plants their hands in one place on the keyboard and never has to move them from that base position for the whole song. I understand why methods use this technique. They're trying to get students to be able to play nice-sounding songs right from the get-go so they enjoy playing piano right from the start. They're also trying to implement the super-important principle of teaching one skill at a time (first learn to play notes you see written on a staff, then move on to more complex skills like moving your hands to different places on the keyboard). It also helps build intervallic note-reading skills early on. But the downside is that they really aren't truly reading music yet. You can tell because if they get even one note wrong, the rest of the song will be wrong because they're basing their intervals off the wrong note. All in all, position playing does seem to have its place very early on for the reasons mentioned above, but it should be transitioned away from pretty soon after they've gotten those initial skills down.

5. Music reading practice: No matter how good they are at those other skills, this is what will make the biggest difference in sight-reading skill level

This one is super important! All those other things I've talked about up to this point are pre-requisites, but this is the one that mostly determines their eventual reading skill level (assuming they're doing the other ones right).

And here is the greatest tragedy of modern piano teaching: Almost every piano method out there is designed in a way that the student gets assigned a few songs, and then they are required to play those songs over and over, day after day, week after week, until they can play them well. Only then do they get to try reading new songs.

An effective piano method should have new reading material (new songs to read/play) in every practice session. That is what the student needs to help pull all the other sight-reading skills together and hone them.

I will explain this further.

Any time a pianist plays a song, they could be playing it at one of four levels.

Category 0 - noise:  It's so bad that it doesn't even count as music.

Category 1 - passable: Not great, but at least you can tell what the song should sound like.

Category 2 - proficient: Sounding pretty great, but there will still be a fair number of mistakes.

Category 3 - performance level: They're owning it.

The first couple times you ever play a song, it is new reading material. And if you come back to it at least a day later and play it another couple times, it probably remains unfamiliar enough that it could still be considered new reading material. Any more play-throughs above that, and it's too familiar to be considered new reading material.

If a student is playing new reading material at a Category 0, it's just way too difficult, and they're not learning anything. If they're playing new reading material at a Category 1 or 2, it's in the sweet spot, and they are pushing their reading skills forward. And if they're playing new reading material at a Category 3, it's too easy for their reading skills to be improving, but hopefully they are focusing on playing it ultra musically, so they're instead improving their ability to play musically.

And what's happening when a song has been played through enough times that it can no longer be considered new reading material? Any time spent playing that song is improving your skill at playing that specific song. It's a song-specific benefit, not transferable to any other songs (essentially memorizing the tricky parts and how it feels in your fingers).

Spending time improving your ability to play a specific song isn't just wasted time. There are many reasons we would spend extra time on a song to push it up to a Category 2 or 3:

• To gain experience with the most effective methods of learning a song by rote
• It's a song that you really love and just want to be able to play really well
• The song uses a specific style or technique that you want to get better at playing
• You're going to perform it somewhere
• It's one of those "standard repertoire" songs that every pianist should know

Now let me summarize and make the point I've been leading up to with all that explanation in this section. An effective piano method should have a large majority of a student's practice time be dedicated to playing new reading material that is the right difficulty level for them (Category 1 or 2). Every minute spent pushing their reading skills forward like this is saving future hours trying to learn songs by rote (the sharpening the saw analogy applies here). It's also good for them to spend a little time regularly playing songs that are easy for them so they can improve their ability to play musically. And it's even ok for them to occasionally spend extra time on a song pushing it up to a Category 2 or 3, but only if there is a very specific reason for doing so (see those reasons listed above).

One thing that will allow a student to effectively play new reading material at a Category 1 or 2 is if they have already learned all the underlying theory, rhythms, harmonic patterns, fingering, chords, etc. that are used in the song. If that has been done, instead of being distracted trying to figure out completely new musical challenges at the same time they're trying to practice their music reading, they will be able to focus specifically on putting together all the skills they've learned to read music fluently. Again, it's that principle of teaching one skill at a time as much as possible. Adding simple skill to simple skill eventually culminates into masterful playing.

One last point. You probably don't remember learning to read English, but it's initially exhausting; so much effort is required for every word. It's the same with music reading--every bar requires a great deal of effort. For this reason, a good piano method will keep its new reading material short. This not only minimizes fatigue, but it also enables students to read a greater variety of songs.

BAD PIANO METHODS ARE CAUSING KIDS TO QUIT
It should be clear by now that most methods get a lot of things wrong, particularly in their extreme over-emphasis of learning songs by rote. This wastes so much time, and it also takes the fun out of playing music.

My experience taking piano lessons growing up was that by the time I was finally playing a song well enough to sound good, I had already played it through so many times that I didn't even enjoy hearing it anymore. The satisfaction of making beautiful music was mostly lacking in my early piano lesson days. And when I did pass a song off, each new song assignment felt like the beginning of yet another long uphill slog to learn the darn thing. It's no wonder so many kids get tired of piano after a year or two and quit! I'm sure most kids would give up on learning to read English too if we taught it that way.

THE PERFECT PIANO METHOD
Of all the things explained above, many of them can be integrated into any piano method, so they shouldn't impact much the selection of a method. But there are a few things that would be hard for any teacher to add in if they're not built into the method already:

• Experience (in the form of songs and other practice activities) with all the key signatures right from the start (i.e., a "multi-key" piano method)
• A specific focus on providing new reading material for every practice session
• Preparation for playing each week's new reading material by teaching all the requisite things (theory, rhythms, chords, technique, etc.) separately first, which will allow them to focus on reading the music
• Improvisation opportunities that use only the material they have learned up to that point
• Early transition away from position playing

At a minimum, a method I choose needs all of those. And it would be even better if it has other desirables integrated as well, such as composition activities, aural skill-developing activities, explanations of music history, and training on how different styles should be played.

CONCLUSION

Think how easy it is to plant a student's hands on the white keys of a piano, "teach" them to play a bunch of kitschy tunes (all in the key of C, of course), and then declare that they're making great progress. That's not what I want for my children. I want deliberate, sound, permanent piano training. I want them to become fluent in the language of music so they can have the playing of music be an important part of their entire lives.

If a student is taught using the principles described above, their apparent progress will be slower because they initially won't be learning (wasting time on) as many difficult songs to impress their friends and extended family members. Going back to the sharpening-the-saw analogy, teaching piano in this way means they'll be spending the majority of their time sharpening their saw, so the number of trees they are cutting down will intially be few. But once that saw is crazy super sharp, they'll be able to cut down a tree so fast and easily any time, anywhere, their whole life.

You may be wondering if I found any piano methods that look good. The only one I found (although I haven't looked at all of them!) that meets all those core requirements plus many of the optional ones is the Robert Pace Piano Method. Never heard of it, right? I hadn't either. It's not widely used. It certainly has a cult following among teachers who use it (and former students who have been trained in it), but I think it's not "popular" because (1) it's not heavily marketed, (2) it's seen as dated (not new and flashy (Robert Pace believed the music should speak for itself without trying to draw kids in with pictures), (3) teachers believe it requires special training to use (there are Robert Pace teacher training workshops--a byproduct of having a cult following), and (4) some teachers think they'd have to teach it in groups (Robert Pace also wrote a lot about the benefits of teaching in various-sized groups).

So, we'll see how it goes. Let me know if any other good methods are out there. And check out Part 2 for the summary list of skills I have been focusing on with my kids to apply all this stuff.

[Addition 10/18/2020: When you get them through all the basic levels of a piano method, I see that as completing their grade school musical education. They can now be a lifelong functioning member of the music community! And now they have the option of adding more instruments to their skillset, the learning of which should go fairly quickly, and/or they can continue on with their initial instrument into the undergraduate level of musical education. The goals of undergraduate-level musical education are (1) pushing their fluency in music ever higher, (2) improving their instrument-specific technique, (3) acquiring their instrument's standard repertoire. and (4) beginning to shift from being an undifferentiated musician to a differentiated/specialized musician in whatever area of music is most interesting to them by starting to further develop the skills most needed in that area. This would be a good time for them to find a music teacher specialized in that area, and at this point the teaching methods are not quite so paramount because they already have the foundational musical framework into which they will be able to fit the new things that they learn.]

Other Tips for Helping Kids to Eat Right

In my last post, I discussed the main principles you need to follow to prevent or fix picky eating. Here are some other things we’ve discovered along the way that help them learn good food habits.

You need to model a good food relationship. If you are binging and snacking and trying various diets and complaining of being hungry and being preoccupied with your body image, your kids will notice and assume that’s a normal and acceptable way to live. They will pick up those habits, and their risk of having an eating disorder (or, at a minimum, a bad relationship with food) will be much, much higher. It’s a struggle in life you can prevent for them by following for yourself the principles outlined in the last post.

It's an ongoing effort. You have to stick to the principles in the last post every day, consistently, for life. It’s a lifestyle, not a parenting trend. If you slack, your kids will slide with you, and then you’ll have to all start over establishing good habits after you finally realize what a stressor food has become again. Living with discipline all the time is much easier.

Try doing a vegetable course first. For most meals, we start by putting only the veggies on the table, and that’s all we initially dish up for them. We don’t force them to eat all of the veggies before they can have anything else (I think that would turn them off from veggies), but we wait a while before giving them the rest of the meal. This actually helps them eat more vegetables most of the time!

The bad habit of not eating dinner. If they get into a habit of regularly not eating more than their one required bite for dinner because they “don’t like it yet” and just choose to be hungry until breakfast, that may mean they’re missing out on the majority of their veggies for the day. Because we’re really nice parents, we have, on occasion, put their dinner plate in the fridge and then heated that up for them in the morning for breakfast. Amazingly, they usually eat it really well, and it’s very effective at curbing that one-bite-for-dinner habit.

There should be no such thing as "kid food." There's probably something to that whole idea that little palettes are more sensitive or something, but feeding kids "kid food" (instead of what the adults are eating) is losing out on opportunities to help them start to learn to like new, amazing, delicious food. Plus, kid food never ends up being very healthful. Our kids ate everything we ate while we lived in Thailand, and it was initially hard at times, but they came to love so many amazing Thai foods! Even now, our 4-year-old says her favorite food is khao soi, which she initially would refuse to eat (other than the one required bite, of course).

Sitting down together for meals. All these things I’m talking about work much better if you have everyone sitting down and eating together. Not only does it help you track and enforce the good eating habits more easily, but mealtime becomes a looked-forward-to time when the whole family is together interacting. To help kids stay at the table, our rule is that if you get off your chair, that means you're done, so they know to just sit and eat until their tummies are full; they can’t get away with running off to play and then coming back for more later.

Because all kids are different, there is a great variability in how well kids will respond to these tactics. Some will have a hard go of it, but your patient consistency will win out in the end.

Picky Eater? It's the Parents' Fault

Sometimes I hear parents complain about how picky their kids are, and I want to say, "It's your own darn fault--you've trained them that way!" (Sorry.) You, too, are guilty if you do any of the following:

·         If your child doesn't like a meal, you let them get away with eating something else instead

·         You avoid giving your child certain foods because you know they will refuse (and then eat something else--see above)

·         When your child complains of being hungry (which happens regularly), you give them a snack

·         You sometimes say no to a snack, but your child somehow ends up eating before the next scheduled meal anyway

Teaching kids not to be picky is so easy if you can just learn how to avoid interfering with the natural consequences* that come from being a picky eater. Here are the three principles that, if understood and followed religiously, will cure the vast majority of picky eating.

Principle 1: Kids will eat food they don't like before they will starve

If a child refuses to eat a meal you put before them, this is what you do: Explain to them that, if they don't eat, they'll be hungry until the next meal, and then CARRY THROUGH WITH THAT PROMISE, ALWAYS (think of la cadre). If, at the next meal, they again refuse to eat the meal you put before them, no worries. Just explain again that they'll be hungry until the next meal. You can keep going like this, and I promise you that you can't lose--you have 1000s of years of evolutionary physiology on your side. Your child will eventually be driven by hunger to eat food they don't like, and they will not even become malnourished in the meantime. This is not harsh--it’s good parenting.

Kathy thinks that, with the littles who are too young to understand these explanations, you can be a little bit lenient (maybe a very small healthful extra snack before the next meal sometimes if they’re super hungry and cranky from not eating the prior meal), but I believe that even the littles figure out the pattern themselves soon enough if they experience hunger after not eating their meals. You’ll have to decide for yourself on that one.

By the way, this doesn’t mean you should never feed them snacks. One small, healthful snack a day at a scheduled time (maybe in between lunch and dinner) is probably a good thing, but be careful--don’t give them a bigger snack just because they didn’t eat much of their last meal (again, that would be interfering with the natural consequence of not eating a meal).

Principle 2: Food preferences are not fixed

My favorite story that illustrates this is about a food critic who decided that disliking certain foods was unfair of him, so for a whole year he ate nothing but all the foods he disliked the most. By the end of that year, many of those foods had become his favorite foods, and he liked nearly all the rest of them. I've had the same experience with many foods (tomatoes, olives, fermented soybeans). In our house, if someone doesn't like a food, we say they don’t like it YET, which helps ingrain this principle. Kids often have to try a food more than 10 times before they start to appreciate it!

Consider also that they may be reacting to the texture or appearance, not just the flavor. So, let them try various foods that incorporate that same flavor/texture/appearance that they’re balking at, and eventually they’ll start to like it. The key to this, though, is that they have to try at least one bite of everything you put before them, every time! Force the one bite into them if you have to; it's that important. Our kids are not allowed to leave the table until they've eaten at least 1 bite of everything, and we don't push for anything more (as explained above). Same goes for spicy foods, but please do it by degrees lest you completely traumatize them.

Principle 3: You can trust your body to know how much to eat

Kids are, on the whole, really great about eating until their tummies are full. Some days, this may be very little. Other days, it may be more than you. Either way, don't worry about it! Again, 1000s of years of evolutionary physiology. But, many parents kill their child’s natural ability of knowing when to stop eating by requiring them to eat all the food on their plate. The last bite is not the magic bite. Please don’t turn eating into a goal-directed empty-your-plate process for your child, because then eating is disconnected from fullness/satiation, which opens the door to all sorts of eating disorders. Trust that, if you’re putting well-balanced meals in front of your child, they will eat the right amount and be healthy.

If you follow these three principles religiously, not only will you have healthier, happier, less-picky children, but food will cease to be a stressor in your home. Next post, I will share some other tips and tricks we’ve discovered along the way.

* Natural consequences: The negative/positive consequences that automatically come after a bad/good decision. They are inherent in the decision. For example, if you don't eat your dinner, you'll be hungry. The other kind of consequences is artificial consequences, which are extra things that the parents do to a child when they deem the natural consequences of a decision (good or bad) to be too weak or too delayed to sufficiently motivate the child to make the right decision.