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