| An Introduction for Musicians | | | | such a need the demand out numbers the supply |
| | | | - the number of lessons you have available |
| For many of today's musicians, working as a | | | | per week. |
| private music tutor has many benefits over | | | | |
| working within an educational establishment. | | | | Building your "studio" into this size is an |
| Firstly, you are a lot freer to choose where, | | | | achievable target, but one not as many as |
| when, and depending on how well you teach, | | | | could reach it actually do. Those who do are |
| WHO your students are. This will also let you | | | | employing valuable marketing techniques |
| continue whatever employment or other | | | | whether they realise it or not. |
| commitments you already have. Building up | | | | |
| your student base slowly allows you to commit | | | | One of these marketing techniques is so |
| time to each of them to find out their | | | | subtle, many don't even realise they are |
| learning style and prepare for their lessons | | | | doing it when they are advertising in their |
| without feeling overwhelemed suddenly with 30 | | | | local newspaper or shop window. This is a |
| new students starting next week. | | | | basic example, but stick with me; this idea |
| | | | can be applied at any time in your teaching |
| Starting out, the idea of being an "expert" | | | | career. By advertising in a local newspaper, |
| can feel rather daunting... especially for | | | | you are already targeting the first most |
| those of us who learned by gigging, and may | | | | likely people to use your tuition services... |
| not be the best sight-readers. Others among | | | | your local community. Unless you are famous |
| us have studied music and/or education to | | | | for being an incredible musician, people will |
| higher levels. But no matter where you stand | | | | neither just ask if you would teach them, or |
| between these two, those first few steps into | | | | travel to find you in the hope you teach |
| teaching music as an income is terrifying. | | | | music. This one simple ad is telling the |
| | | | local community "I live in this area, and I |
| Two main advantages I have seen in my time | | | | have spaces available to teach music |
| working as a private music tutor are | | | | lessons." I would save the expense and time |
| | | | on that website until further down the line |
| 1. You have a lot more potential to work the | | | | if you live in a small town, the paper would |
| hours you choose, and where you choose. | | | | provide a far higher return on income when |
| Allowing your other commitments time where | | | | you are starting off. |
| they need it. | | | | |
| | | | To develop this further, think what your ads |
| 2. If you teach children, generally, they are | | | | say about you? Do they say professional, or |
| far more likely to behave and be responsive | | | | do they say "I can play a few tunes on the |
| to teaching when either on their own as there | | | | piano, let me teach you cos I really need the |
| is no one to show off to. School music | | | | money" |
| lessons - especially in junior high school | | | | |
| can be pretty hard to control. | | | | Here are my top 5 mostly marketing techniques |
| | | | for musicians aspiring to earn a decent |
| 3. You can vary the genres and methods you | | | | income from private tuition. |
| use as you see fit, not as a strict school | | | | |
| curriculum requires. | | | | 1. Choose a name for your "studio" this can |
| | | | be anything from "Maria's Singing Tuition" to |
| 4. You can focus all your attention on one | | | | "Bass riff School". Choose one and use it in |
| student who WANTS to learn... if they don't, | | | | ALL your advertising |
| why are you teaching them - your morale will | | | | |
| take a huge blow, and your time would be | | | | 2. Make sure you include contact details on |
| better invested in working with an interested | | | | everything - advertising is an obvious one, |
| student. | | | | but what about your pupils' notebooks in case |
| | | | they ever need to cancel a lesson? |
| Monetary benefits will come into the equation | | | | |
| somewhere... let's face it; they have to in | | | | 3. Make at least two copies of your teaching |
| this world. However, if all you can see are | | | | schedule. One that stays with you (especially |
| pound signs and have no real interest to | | | | if you are as forgetful as me), and one that |
| teach, work with others, or enjoy music... | | | | everyone else in your household can see. This |
| perhaps private tuition is not for you. | | | | allows them to know when not to disturb you, |
| | | | or when you'll be home. |
| In my personal opinion, private teachers can | | | | |
| make a very comfortable living, and with some | | | | (A third copy is ideal to keep with your |
| commitment and effort can easily make £40 | | | | musical instrument as a reference.) |
| upwards per hour. | | | | |
| | | | 4. Make sure that the two copies in point 3 |
| It is not unheard of for tutors to have a | | | | have contact names and numbers for all your |
| waiting list of students who want them as | | | | students. Should you ever have an emergency, |
| their tutor. Once you find yourself in this | | | | this allows all your pupils to be contacted |
| position, although it isn't time to relax, it | | | | by another person in your family should you |
| is most definitely time to congratulate | | | | not be able to attend. |
| yourself. You can now (within reason) charge | | | | |
| what you REALLY feel you are worth per lesson | | | | 5. Don't be afraid to tell people that you |
| hour, as you have people desperately waiting | | | | teach music - especially if you have spaces |
| for your time. | | | | available. Word of mouth is the best form of |
| | | | advertising, and when you combine this with |
| If you didn't increase your price at this | | | | the power of NETWORKING, you can only |
| stage it would be foolish. You have developed | | | | succeed. |
| a product (your tuition service) that is in | | | | |