Often I am asked about how you build a successful music lesson program. I believe the best answer is to make quality you first and only priority. If your program entails the following six steps and your purpose is to serve others with genuine specialized knowledge, you will serve your community and your purpose well.
1. Begin with the end in mind.
Let me suggest this Steven Covey principal. Be clear on your purpose and how you intend to implement it. When starting a music lesson program, your only agenda should be to offer high quality music education. Therefore, you have to begin with the end in mind. I have witnessed many stores developing lesson programs for a chance to earn additional income, and while that is probable, it should never be the initial reason to do it. Once you are clear on your purpose, you should build your program in stages. A word of precaution: If you are a teacher working for a music store and wish to build your own studio, I don’t recommend pilfering the students from the store in which you work. The story will never die, and your reputation going forward will always be besmirched.
2. Build an alluring environment that intrigues learning.
Make sure you have the proper space/rooms and gear to accommodate the undertaking. If your rooms aren’t treated acoustically or the setting isn’t inspiring, there is a reduced chance of success. In today’s digitally distracted environment, you need a setting that stimulates, encourages, and invites the creative curiosity of the student. You need an environment that is up to speed with current technologies, but one that pays homage and embraces the history of music. You need a setting that enables the student to learn current technologies and a setting that flirts with futuristic possibilities, but one that is also based in fundamental musical and instrumental education… music principles first and technology second… because basic fundamentals are still king!
3. Find teachers with passion.
Pompous and boring teachers, while dripping in degrees, are sometimes not inspiring to young curious learners. At the same time, just because a person is a high energy, excited new musician, doesn’t mean he or she knows their way around a lesson room. I see just as many semi-qualified teachers as I do snobbish windbags. When developing a studio, my advice is to find teachers that can play and teach, and that are cooperative enough and have enough business savvy to support and serve the mission of your store. Keep in mind that over time your mission may morph due to changes in the market place, and at that time, even though you will find it inconvenient, you may have to reiterate your business practices and mission with even your best teachers.
4. Your message needs to be clear.
After 25 years I have found that being a leader and overseeing an education program is not as sexy as one might think; so, you better know who you are and what you stand for. As your program grows, you will bring on widely diverse teachers. Strong teachers are not weak in bravado; my advice is to be clear on who you are and be clear on your intended outcome. Let them know early and often what your establishment represents. Let your instructors, both old and new, know you are there to serve them as well as the client, and most of all, you are there for the higher purpose of promoting music education.
5. Understand the true value of specialized knowledge.
The difference in one program versus another is generally vision, and the quality of specialized knowledge. Today there are many musical merchants who are jumping into the business of education as another product to sell… if only it were that easy. The Internet is flooded with videos and online methods for quick and easy learning. The only problem with quick and easy is that the approach is most often shallow, and shallow doesn’t breed good musicians. The trick is to provide specialized knowledge wrapped in a format that is relevant to today’s youth, and that is also encouraging enough to entice adults to rekindle their love for learning.
6. Split the difference.
We are living in a time where the end user is bombarded with superficial information. Faster is confused with better. Sadly, we have displaced the value of the connected experience. When creating your music education program you may be thinking “old school” versus “new school,” but perhaps you should split the difference. If old school is connecting through a fundamental process (i.e. practice makes perfect, technology is second to musicality, and discipline while laborious, is in fact your friend) and “new school” is high tech-centric (i.e. video is king, loops are cheaper than side men, or a “we can always fix it in the mix” mentality), perhaps you should consider splitting the difference.
In my business, I accept the truth that our music education program is our number one responsibility. When we built @4410, Contemporary Music Center’s listening room, my intention was for the student, the performer, and the audience to enter yesterday, today, and tomorrow. It is our responsibility to breed musicians who revere music history, and who intend to make music history of their own. As you embrace the possibility of tossing your hat into the music education ring, with a simple clear understanding of your purpose, and a good plan to bring your purpose to life, you will serve the music industry well.
Menzie Pittman is the founder and owner of Contemporary Music Center. Since 1989, he remains CMC’s only director of education. Contemporary Music Center has two locations in Virginia – one in Chantilly and one in Haymarket. CMC has won NAMM’s Top 100 Award four consecutive years since 2011. Menzie is a frequent speaker at NAMM’s Idea Center on music education and has been invited to speak at the Whitman School of Business, Syracuse University in N.Y. He serves on the steering committee for the Support-Music Coalition and also serves on the Hylton Center’s Education Committee. Menzie was appointed to NAMM’s Board of Directors and served from 2012-2015.
