Carol Matz Composer Arranger Piano Teacher

Composer, Arranger, Piano Teacher

How do you teach students to improvise, play with lead sheets and develop their Pro Piano Skills?

Watch Glory St. Germain and Special Guest Carol Matz in the Ultimate Music Interview.  

Learn how Carol's process can inspire you and your students to get started today.  

P.S. Carol is giving you a Free Download Gift too. Don't miss this one! Carol Matz has composed, authored, and arranged hundreds of published titles for piano students.  

Get Your Free Bonus Download

Carol Matz - UMT Interview

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz is an experienced composer, arranger and piano teacher.

Carol has composed, authored, and arranged over 300 published titles for piano students. An experienced piano teacher herself, Carol has presented numerous piano-teaching workshops throughout the United States, Canada, England, New Zealand, and Australia.

Carol studied composition, arranging, and orchestration at the University of Miami, and has written for a variety of ensembles including orchestra, jazz big band, brass quintet, and string quartet. Her work also includes studio arrangements for a number of artists in Miami-area recording studios.

Carol Matz has presented hundreds of piano-teaching workshops worldwide. She is well known for her "Famous & Fun" series and the "Interactive Piano Method®."

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz is Glory St. Germain's Special Guest on the Ultimate Music Interview Series.

Glory S.: Well, good morning everyone. I am super excited to be doing the Ultimate Music Interview live today. I'm Glory Saint Germain from Ultimate Music Theory and my very special guest, and my dear friend Carol Matz is with us today. Good Morning Carol.

Carol Matz: Hello. How are you?

Glory S.: So Carol, are you still in Florida?

Carol Matz: I am indeed. And right now I'm very happy that I'm in Florida.

Glory S.: Exactly. So while Carol's like strolling the beach, I'm out in the yard with my parka cause I'm up in central Canada. But the beauty of it is that we can connect via the Internet and have this wonderful conversation today. So, Carol Matz is from Interactive Piano Method and if you want to learn more about teaching your students and how to improvise and use lead sheets and what's a lead sheet anyway, so thank God we've got Carol with us today to kind of go into a little bit more detail. And I think Carol's going to reveal a few secrets from her pro piano skills section. And she also said she has a little gift for us today. So go ahead and just say hi because you're in for some treats today.

Glory S.: So Carol, in addition to all of your amazing accomplishments, of course you've traveled the world in places that I aspire to go. And of course you've done the US, and Canada, and Australia, and England, and New Zealand. So maybe before we get into your famous and fun ... And actually not only are you famous and fun, but you know, it's famous and fun in addition to your Interactive Piano Method. So maybe share a little bit about how you got started and became so famous and fun.

Carol Matz: Well, being fun is the easy part, the other thing, I don't know. But it's really an interesting thing for me cause my mom's a great pianist and she was actually my first teacher. I started when I was like four. And my favorite thing to do was play underneath the piano. She got me like a little xylophone and she'd be playing Chopin and Beethoven Sonatas and I'd just lay underneath the piano with my feet up and just listen. And that was really my start. And my mother, she's 81 she still plays hours everyday, everything, and she's great. And the other day I went over there and I said, "You know what? I'm going back to my roots," and I got underneath the piano and laid there and listened to her play. So that was kind of the thing.

Carol Matz: But it's interesting because how I got into really doing what I'm doing now is because as a student myself, I wanted to play pop music. I wanted to play the Beatles. I hated in particular Kabalevsky. My little old lady piano teacher was trying to have me do these things and I wanted to branch things out a little bit more. And so I started to teach myself how to play pop, and then that kind of evolved into the way that I taught piano once I started doing that.

Glory: Well I think it's interesting and fun that you said you're laying underneath the piano because I have a couple of students that do that. So now I'll just say, "Oh, you're so gifted and talented.  It's the perfect place to start."

Carol Matz: There you go.

Glory S.: When you started your composing like did you start composing when you were young and then how did it evolve? Like what is your ... And I think that's such a great question because often students just don't know. Like is there a process? Like how does that all work when you want to ... Like, I want to write my own songs, so how am I going to start?

Carol Matz: It's magic. How does the internet work? It's magic. I did start composing when I was young. I was kind of doing song writing like when I was 12. I played the guitar since I was nine years old and I still play today. I mean like I rock out. I've got my whole thing set up.

Glory S.: I know you do Rock Band too, right? You love that game.

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz: I'm actually a really good Rock Band drummer, because I know how to play guitar and it's just different. But I did, I wrote songs on my guitar and kind of got into writing lyrics, but it was always in there and I think that the reason I got into composition was for my students. So I started writing pieces and ultimately I ended up taking all these pieces and submitting them. This was many years ago. I know you guys probably know some of my FJH publications. They're in Fort Lauderdale as well as I am. So I got my first entree to publishing, you know, my pieces that were written, especially for my students through FJH. And then just so you all feel better, they all got rejected.

Glory S.: We know that feeling.

Carol Matz: This is the important thing, right. I don't take no for an answer. I mean it was kind of like, all right, so I contacted them and said, "Can I speak with the editor and find out what I didn't do right?" And thank goodness she has become a very good friend of mine since and she kind of mentored me into what I should be doing. So I took a few pieces, rewrote them, re-submitted them and got published. So it was just that, having that tenacity is a good thing.

Carol Matz: My composition process. I mean, I'm kind of kidding and I'm kinda not kidding when I say magic, because I really don't know where it comes from. I kind of will sit down and I think one of the things that you can think about and that your students can think about as well is if you stare at a blank page, forget it. It's just going to be frustration. But if you think about parameters, what am I going to write? What's the time signature, what's the key signature? What style? Do I want to write a rag? Do I want anything that you can do that creates a set of parameters for me at least, that tends to spark the creativity. So I work in that framework and I'm able to come up with ideas just like that.

Glory S.: Yeah. And I think you're right. Sometimes it might be too ... And I often discuss that with my students, when they're learning a piece, they say, "You know, what do you think the composer was feeling or thinking about when they wrote this?" Because if you just have a title, you know, My Sister Susie, was he thinking about his sister, but was it a happy song? Was he mad at her? You know, what were those? So it kind of is a start. And what's interesting is that you are a composer, so you're right, it comes magically and you write and you create. And I think some of the challenges that some teachers face, myself included, is that yes, maybe we do a little bit of noodling around, but how can we actually teach composing so that our students will actually learn effectively? But maybe we should start with lead sheets because there's a difference between composing and improvising. So can you talk a little bit about what's a lead sheet?

Carol Matz: Right. Well, you had mentioned I've got the Pro Piano Skill section and the Interactive Method. And the reason that I created this, because again, that's how I've taught since I was 18 years old. That's how I've been teaching students and it's a way to get them away from just the printed score. And a lead sheet, it's a term that's often misused, but what really a lead sheet is, it's one staff, usually the treble staff with the melody on it. Sometimes lyrics, sometimes not, but above the staff is a series of chord symbols. So if you have a knowledge, if the student has the knowledge of their majors, their minors, how to just play these triads in both hands and in different inversions. Basically what they'll do is look at the lead sheet, play a chord, and then you're playing the melody over the top of it. Now that is the most basic way to approach it. In the Pro Piano Skills, while I'll go over incremental steps, that's the most important thing. Don't just say here, play the melody, play the chords. So we can go through incremental steps of playing melody separately, playing the chords, putting them together. Then, oh it's a slow song, maybe we'll add pedal and do the chords broken in the left hand. So that opens things up. I mean, you know, leads to lead sheet playing.

Glory S.: And you know, one of the things then of course ... You and I are friends and one of the things that I'm so passionate about in Ultimate Music Theory is providing the kids with the knowledge in music theory, so you can take your program and just sit down and open the palette of colors and explore playing them broken. Because often times too, piano students will come in with lead sheets from band and say, "Oh, my band teacher said I have to learn this." And they don't know like, "Why is there an upper case G with a lower case M with a slash, with the B underneath it?" And so learning music theory, that language is essential so that you can explore. It's not just about composing and noodling around, but actually understanding what you're playing. And it's so much fun to just grab a lead sheet.

Glory S.: I think you just feel like, oh, I can do things different. And it's just a whole new awakening. And so when you're doing this, exploring this, and sharing it with teachers, one of the things I know that Carol has for us is a little gift today. So if you want to go ahead, I guess I should just acknowledge some of our comments here. I'm going to scroll down. Karen Hedges says, "Hi Carol and Glory." So Karen is from Nashville, Tennessee. Well actually, she's from Mount Juliet. I'll give a shout out to Shiloh Music. And I did a workshop for Karen out there, so it's great to have her on the call. And Sarah Campbell, of course, our dear friend is out here too. "So this will be good for me too," says Karen. So yes, absolutely Karen, you need to explore all of Carol's Pro Skills because they're amazing. And I did want to share that coming up shortly she's going to be doing a little gift with us. So if you type the word skills, you will get the link to that little gift that she has that coming up our way. So tell us a little bit about how exactly your system works. So now we've got the lead sheets and how does that work with the Pro Piano Skills?

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz: So, the Pro Piano Skills, like I said, it's a part of the Interactive Method, but we really could use this type of a system and maybe I'll throw like a little teaser out there, but this year I'm actually going to, now that I've wrapped up the main levels of Interactive, I'm actually going to do some standalone volumes of Pro Piano Skills and really go to town on these things because the feedback's been great. People want to be able to teach this. So how it works is that everything, it happens to be corresponding unit-by-unit to the interactive method. But again, you can use it in a different way. And what I do is, I think it's really important to take students through things incrementally.

Carol Matz: Now, Glory knows I'm a music theory geek and I own that badge proudly. And I'd like to take the theory concepts that I've taught in Interactive with what our student learns elsewhere and then once they get into the program, they'll have improvisation with you, the teacher. Let's say you've never taught improvisation before, it doesn't matter because I've got everything systematically broken down by steps. To teach things to students by steps is really the key because it demystifies everything. So what they would do is like for example the improvisational section or the composition section, because there are all these different skills that are in there, do them in the class with the student, they can go home, they can be creative, they can come back and rehash their compositions with you. What I'd like to do is give a framework within which they, that they work.

Carol Matz: So for example, if they're doing composition, I will write maybe a one four, five, seven or some kind of like an indication in the left hand. Say they're going to compose a ragtime piece. So I give them the chord progression, but they have to fill in the notes. Then maybe they're going to do the melody. So I'll cue the rhythmic melody, the rhythm part of the melody, and then they'll choose the notes within that key. So there's a lot of experimentation but it's not staring at a blank page. As far as lead sheets go, same thing. They're walked through step-by-step with each thing. And the other thing I wanted to mention that people think lead sheets and chord charts are the same thing and it's interesting to note the difference. A lead sheet will have you ... It's like if you're playing a gig, you're playing a Christmas party say, and you've got the melody and you're going to incorporate that in your right hand and you're going to play a piece through a lead sheet. That's one thing.

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz: Then that's actually harder. To play a chord chart, a chord chart has no melody. It says if the student is learning how to become an accompanist. And that is really where I start with students because all they need to do is be able to play the chord, maybe play an octave or a single note in the left hand and then they can make their way through any piece they want to play. I did it with the Beatles. So my students, I used teach, Let it Be, and they play like da, da, da, da, da, da, da, and then it would just be an F second inversion of C, a B flat, whatever it is. And they would go through and they're like, "Oh, I'm playing the piano and not reading." So it's a kind of a freeing thing to get away from the page. So I go through that, how to play the chords, had to add a rhythm, had to add the pedal and so forth.

Glory S.: That is so fantastic Carol. Thank you for doing that. Because I think if there's not someone that's giving us that the steps of how we guide our students through ... Because where do you learn this? You know, we've all had music teachers but not everyone teaches in the same way. And it's funny cause you and I both share that passion for the Beatles and I think your cat's named George Harrison and your dog's named Ringo, right?

Carol Matz: And then I have another one named Paul John. So, yes.

Glory S.: Oh my God. Well, my lead sheet experience was with Yesterday, I think I played a million times. And funny, my mom would just kind of say, "Well, you can either help me wash the dishes," this was before dishwashers were invented. It's aging me. But anyway, we didn't have a dishwasher. And so my mom would say, "Well, you can either wash the dishes or go play on the piano," and thank goodness that was an option and to this day I still don't do dishes. I'd rather play the piano. But I-

Carol Matz: I can do both.

Glory S.: Yeah. No, I'm not doing that. But I think that's so fun. And you know, my husband, Ray Saint Germain is a professional entertainer and a singer. And he, obviously when he's performing just as you said, hands everybody the chord charts. Because that Carol, I love that you said that because it's brilliant because it enables you to even use your voice. Because a singer will not sing every note the same way every time. You know, they have that freedom. And so just to start by playing a chord chart, just to understand how to read it and then taking the lead sheet and going, okay, well now let's us play the melody and do the improvising. It's completely brilliant. I absolutely love it. Now, other than you sharing some skills, cause I do have a couple more questions. I do need to have a little reveal here if that's okay, Carol?

Carol Matz: Ok.  Hit me with your best shot, Glory.

Glory S.: I'm putting her on the spot but I won't go too far. So when I'm teaching Ultimate Music Theory Club classes, we have our little characters, which are, I don't know if you can see them or not, they're kind of hanging out with me today. So-La and Ti-Do. And so because Carol and I both love the Beatles and I used to always do a little bit of an accent. So So-La has a little bit of an accent and she loves having tea when she's doing her theory. And then Ti-Do has a bit of an accent, but he's from the south. So I know that Karen from Nashville, will recognize Ti-Do and then of course we've got ... Now I know that I'm being silly, but you know what? Students love that and they are really teaching tools. And I know that Carol is not only a super fun teacher, but she also can talk like Donald Duck.

Carol Matz: I can.

Glory S.: You can. Now, I won't put you on the spot to talk like Donald Duck-

Carol Matz: There would be spit flying out at the computer monitor. It wouldn't be good.

Glory S.: Exactly. Or revealing any of your really cute jokes or your fun secret handshake with your students. But I just think that one of the things that's so important in teaching is to have fun, to be free, to be silly, to ask students, what are you listening to on your phone? Like, what's your playlist? I love music that's got a great beat. I love to dance. Even if it's just me by myself, but it pumps me up. And I think then in order ... When you talk to teachers that have students that go, "Oh my students don't want to practice or they're quitting." Well maybe doing the Interactive Method and getting them to read lead sheets and letting them yes, play the conservatory pieces because we want to build technical facility, and independence of hands, And independence of fingers. But we also want them to be aspiring lifetime musicians and presenting your fabulous program and getting them excited about it, I think that's just one thing that we can do to help these musicians be lifetime. Because obviously they're instrumentalists. And I want to have ... A question for you because other than doing impersonations to be fun, how can we get started in a fun way with the Pro Piano Skills section of the Interactive Methods? So how can our students get started with your program today?

Carol Matz: Well, it's very simple to, first of all, you'll start with the sample sheets if you don't have the Interactive Method starts in levels three goes into level four. And what's really interesting is that I hear this so that you don't have to know how to improvise. You don't have to be, you know, a great lead sheet play or anything. The idea is I'm almost trying to teach the student and the teacher at the same time. So it'll be almost like a collaborative learning experience for those of you who haven't done it. Let me give you an example. You'll see in the free sample that you guys are going to get, the little pdf packet.

Glory S.: Make sure you type the word skills in the chat box so that you'll get it. Skills, yep.

Carol Matz: Yeah. And you'll see in there, jazz improv. So I've actually ... What I'll do is I'll say to the students, "We'll start with just three notes, a C, E flat, F. That's just the first three notes of like a C blue scale. So then they're, "Well what do I do with those three notes?" Okay, so now you know where ... So then I'll break it down into rhythm patterns. So then they'll do some exercises on swing feel, then they'll take CEF and then they'll play it. So I'll give them the rhythm, you know, da, da, da, da, da, da. And then the student can play that on one note where they could go da, da, da, da, da, da, and they can start feeling like these little riffs and these little... and they'll start grooving. Now what are they going to improvise to? So I've written out your part so you don't have to worry about being really good at playing whatever key. So I have the teacher part written out, and then I also have Mp3s the students can play along.

Carol Matz: I just looped the teacher part on the recording for several minutes. And I always tell students, "You don't have to start when I start, just hit play." They listen and they listen to you as we play. And then when they're comfortable they jump in. And they try a few of these little rhythm patterns. And then later in the higher levels, the ones that correspond to level four, those are the ones where I make it more what they say, lick-oriented. A lick is the little fragment of a solo, like this little blues kind of thing that you always heard, ba, ba, doo, ba, ba, ba, whatever it is. So I'll say, "Okay, there's your lick. So now you're going to learn how to play licks in different keys. You'll be using minor pentatonic or blues scale, whatever." And then they'll start to link up the various licks to actually form a solo so that they can kind of ... You know, that's one of the things I think it's really important, kids who play guitar, and I've taught guitar for many years, and kids who play guitar get that immediate sense of accomplishment. Here's where you put your fingers for a G chord, here's how you strum it. And then they can pick up any piece of pop sheet music and play it.

Carol Matz: So what I'm endeavoring to do is take the way that guitar students learn, I'm not throwing side the traditional curriculum because the rest of the Interactive Method is all about reading. And I'm huge on scales and chords, arpeggios, and technique. But to use this as a supplement where they can become social musicians, so they don't have guitar... envy, you know, because your students can just play, then they can play solos and show off. So I want to bring that more to today's piano students. It's a way of ... It's keeping them engaged, but it's also a way for them to become what I call social musicians. And I think that's super important.

Carol Matz: I was popular in school and it wasn't because of my charm or anything like that. I didn't have the nicest clothes and the whatever, but I was always on stage playing piano, accompanying all the singers who tried out the talent show. So I would say, Carol, just stay up here. Here's my sheet music. So I was always like the cool one that was, the musician was on stage. And I felt bad for this other student who was a really good pianist, but nobody wanted to hear her playing Chopin. They all wanted to hear whatever rock and roll was, or pop songs that were happening at the time. So I think that that gives students self confidence. And they can get up on stage and do that.

Carol Matz: So I think that's really what my ultimate goal is with every student is for them to feel good about themselves doing something that they enjoy and that they can kind of claim as their own. Whether that means playing on stage or for their aunt Frieda, whatever it is. That's important. And these Pro Piano Skills that I think have been neglected by a lot of traditional pedagogy will bring this all together so that they can have a more complete, well-rounded musicianship.

Glory S.: Yes. I love everything that you said Carol, everything. I honestly do because what's interesting you talked about the guitar and even about the base and I too was one of those popular kids in school, not because of my personality, but because I played the piano and I played the drums and I had a basement that was full of musical instruments. And so that's where everybody would come and jam. And you talk about your name as being involved in music theory. Well, I'm known as the music theory party queen because I was always about, same thing. Here's your music, here's your music, just read. But one of the things that's so interesting that you just said was learning licks and Lenny Breau who was actually my husband's brother in law, he's passed away, but he was known as like the world's greatest jazz musician. And he would take the intricacies of piano and put them into his guitar, Flamenco Style and everything. And if you're not familiar with Lenny Breau, definitely Google him because he's a jazz giant.

Glory S.: And one of the things that my daughter, Sherry used to do, ironically enough, is that Lenny would listen to piano music and then turn it into licks on the guitar. Whereas she would listen to Lenny play guitar and then she would turn them into piano licks. But the key was that when you listen to musicians, you can almost listen and say, "Oh, I know who's playing guitar." Because they have collected those licks and they don't always play them in the same way, but they've mastered a few of them. And you can say, "Oh, I know that's Lenny Breau, nobody can play that.

Carol Matz: Right. It's like learning a new language and you're building a vocabulary. So whatever you're listening to ... Like when I play guitar, I have always drawn on Eric Clapton, Freddie King, T Bone walker. So it's like you can kind of, somebody who knows guitar really well, if they heard me soloing, they'd be like, "Oh yeah, I can hear the Clapton in there." Or whatever it is. And you'll start to form your own style and your students can do the same as as well. They'll start to come up with their own riffs and that's important. And even if they don't sound great, or they're using a note that's not, who cares. It's more about freedom of expression and allowing them to tap into that without feeling like they're on the spot. Which is why I really like, having kids practice improve with headphones and the keyboard. If you've got a lab, it's really great for that. If you can have them on a lab, put on the headphones and nobody can hear what they're doing, so they could just pound on the piano. I've had some kids, I'm like, "Here, play this with your fist." I just want you to play some rhythms. Whatever it is that just opens them up and makes them not feel like they're like this and they don't want to miss a note. That's really what we're aiming for.

Carol Matz - Composer, Arranger, Piano Teacher

Glory S.: Yeah. I think just that exploration and you're right about the headset, kind of like, well no one can hear me anyway. So that's kind of a way to get around it. And also I think just having students collaborate sometimes. Have one doing the chords and the other one ... Like, that's really when the different skills kind of weave in together. It's interesting just talking about how musicians have that language of ... And sometimes it's just a nod, right? If you and I were jamming together and I would just give you the look and you'd go, "Oh, I'm going to take the solo." It's kind of like pass the hat, like musicians have that language. And I think it's really important as piano teachers that we give our students that palette to go, okay, there's more than just learning to play all by yourself.

Glory S.: It's learning to collaborate and all that creativity and ... When I grew up, I was blessed to be in a musical family. My Dad was a multi-instrumentalist, he played the organ, the piano, the guitar, the trumpet, the stand-up Bass, like all of that. So it was not an option in our family. Like you played an instrument, it was like brushing your teeth. It was like, no, you're doing this. So I see too that when sometimes parents say, "Oh, I'm going to enroll my children in piano lessons, maybe just to see if they like it." Well for me, if you're coming here, no, it's a lifestyle. Like you're going to have friends that you're going to collaborate. And when I see too music teachers, I think, and this is an important thing, and I know you'll recognize this Carol, is that you don't know whether that little six year old that you're teaching and your helping them learn how to read music theory so that they can read lead sheets and they can open that.

Glory S.: That might be the next, you know, Ringo Starr, George Harrison. Because our students are those musicians that are going to make a difference. Loni Anderson, I remember he ... Sorry, Lani Eagleton. I remember he came to one of my Ultimate Music, three workshop presentations and I'm like, "Oh my God, like you're a rock star. Like why are you at my workshop?" And he said, "To learn." And I went, "You know, if you are open to learning and I call it being coachable. If you're coachable, oh my gosh, you are just going to have the best time learning all this stuff." Like I seriously, I just want to put a challenge out there to all of the people that are viewing and you might be viewing later. If you're watching the replay, go ahead and put skills and we will still send you that link.

Glory S.: So make sure that you're getting this because it's a wealth of information. And one of the things I think we should really challenge ourselves ... And I'll just put the challenge out there is that I'm thinking now about my own class and I don't have a lot of students because of course only teaching three days a week now, but how can I incorporate this and almost make it something that they could do for the recital at the end of the year so that they can say, this is the lead sheet and this is me, this is my little improve. So maybe that will be a challenge that you want to do. Not you Carol, but I'm just talking about our viewers, or maybe you as well, but we challenge our students to play their piece that they want to, but then let's also have a little jam at the end where they are.

Carol Matz: Yeah, a recital jam session.

Glory S.: A recital jam session. I might have to get out the guitar and learn my little one, four, five chord. My family kind of has a good laugh about that. But, so just wrapping up today, Carol, what would be sort of the one word of advice that you can give our musician friends and music educators here today? Just what would be the one starting point that you would say this is just one action step that you could do today?

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz: Listen to music, listen to different types of music. And everything that comes out of me I think has been in terms of composition, in terms of improvisation, like I referred to Eric Clapton or whatever. Listen critically. And that is the first step to everything. I listen to a ton of really crappy pop music because my kids like it. Okay. So I'll listen to it, but I'll find the good, find what's in there that you can use to connect with students on their own level. So obviously they're going to be things that they can't play, some kinds of hip hop. It doesn't translate to piano. Although I did arrange Led Zepplin for piano, my most favorite compensation. You probably ... I don't know if you can see there's a Led Zepplin mothership poster here and that that was done because I did the Easy Piano Music. But that's what I'm saying. If your kids like rock, if they like pop, listen to whatever it is that's happening today and keep an open mind and say, "What can I grab from there that they're going to relate to?" So you can move that into their piano lesson and then use that as a little bit of motivation.

Glory S.: Yeah, that's great advice. I think as teachers, a busy teachers that have a full teaching studio and you know children that are still at home sometimes we're just, okay, I go teach. I do the same thing, same thing, same thing, go back and we don't take that professional development time for ourself to listen to music. And maybe it should even be part of the lesson. Like what are you listening to? Let's let's learn it. Let's both listen, what do you hear? So that if you don't have that, "Well when am I going to do that?" I don't know. Maybe when you're cleaning the house or doing the dishes or not. I think that's really great advice Carol. I'm going to make sure to do some more listening and I can't wait to download and print off the lead sheet gift. Thank you for doing that. It was very kind of you. We've also brought in the show notes are the link to Carol's website, which is Interactive Piano Method-

Carol Matz: No, it's carolmatzpiano.com, sorry.

Glory S.: Oh, thank you for doing that.

Carol Matz - Composer, Arranger, Piano Teacher

Carol Matz: If you go to carolmatzpiano.com, you can sign up for all my free monthly pieces and there are about 20 different pieces on the archives. You can download them and print them and use them for all your students for free. I like to just kind of provide a little bit of fun stuff for the teachers. And also if you've not gotten a free level of the Interactive Piano Method yet, feel free to contact me. My contact information's on the website. I'll get you a free level. If you want levels three or four that have the Pro Piano Skills in it, let me know if you haven't gotten a free level yet and I'll get that to you.

Glory S.: Oh, wow. That's very, very generous of you. Very generous Carol. I know how much work it is to prepare all of those tools, and that's very kind of you. So thank you from all of us for not only your time today, but creating this amazing opportunity. I'm glad you got off the stage for a minute, just so that you can write all of these books and create this fantastic program. So thank you again for joining me today. Hopefully you're going to love, like, share, comment. And make sure you check out Carol's website because she's got fantastic things for you there. So keep listening, keep smiling and party like a rock star. Thanks.

Carol Matz - Composer, Arranger, Piano Teacher

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