Hetty Jagersma Student Learning Needs

Student Learning Needs

Do you meet music students where "they are" in THEIR learning needs?

Watch Glory St. Germain and Special Guest Hetty Jagersma in the Ultimate Music Interview.

Musicians need to learn music theory, but do they NEED to do exams? Do they NEED to perform?

What to do with "non-practicing" students and where to start with very young students to adult BEGINNER students who DON'T want a baby book to learn!?!

BLOG Hetty Jagersma - Ultimate Music Theory

Hetty Jagersma Student Learning Needs

Hetty Jagersma is a successful Music for Young Children Teacher, private piano teacher and an Ultimate Music Theory Certified Teacher.

Hetty enjoys continuing education through Professional Development Education, is a member of the Tim Topham Inner Circle and Ultimate Music Theory Certified Teachers Facebook Group.

In addition to being a busy wife and mother of two boys, Hetty is also a great support to many teachers and students.


Hetty Jagersma Student Learning Needs

Hetty Jagersma is Glory St. Germain's Special Guest on the Ultimate Music Interview Series.

Glory: Hey. Do you meet students where they are in their learning needs? Musicians need to learn music theory, we know that. But do they need to do exams? Hmm. Join So-La, hey Sola, our UMT helper, because she has got the goods. And you can just check her out below. Question for you. Do your students need to perform? Well, tell us what you think. I'm Glory St. Germain from Ultimate Music Theory, and my very special guest today is Ultimate Music Theory certified teacher, Hetty Jagersma. Welcome, Hetty.

Hetty: Good morning, how are you?

Glory: I'm excellent. I'm so excited that you are here today.

Hetty: We need our cup of coffee so we can actually just have a coffee together here.

Glory: That's right. That's how Hetty and I have coffee is we do Facebook live. So, Hetty is a professional music educator, teaching piano preschool music class, music for young children, and Ultimate Music Theory classes, plus Hetty is a wife, a mom, and busy planning her son's fall wedding, which is so exciting.

Hetty: Yeah, it's kinda scary.

Glory: Oh, it's going to be awesome. And she joined a choir. So, where do you find the time to do all that, Hetty?

Hetty: Well, if you know me a little bit, you know that I like to be busy.

Glory: Yes.

Hetty: So, where do I find the time? I think we always make time for things that we like to do.

Glory: Yes.

Hetty: Well, if you like to read, you're still going to find time in the middle of all of your busy days to find 20 minutes to read, or if you like to clean your house, fly at her.

Glory: Yeah, have at her. That's not my favorite thing, but you're right. We do, and I'm so glad that you said that, because today we're actually talking about how to teach to the student, and meet them where they are, and we really have to find time to learn and to talk about this, and I love this topic Hetty, because it's so important and as you know, we left a Sola link below so that you can get all the goods and keep you with where everything is at with UMT.
So, before we get into that though Hetty, let's just take you back a little bit to being a student, and how did you get started with your music lessons?

Hetty Jagersma Student Learning Needs

Hetty: Well, that was a long, long time ago. Like I said, getting a son prepared for a wedding is making me feel old, but also thinking about when did I start, when you asked me that question before, I was like, "Its been a while." I was six years old, so it's been 46 years, so now you know how old I am. I was in grade one, and my teacher said to my parents, "She needs something better to do besides reading books all day long."

Glory: Right.

Hetty: So, I was an only child, basically. My brother was five years younger than me, so he would've been a baby. Nobody to play with, living on a farm, no TV, no nothing. So, she's like, "She knows how to read, she knows how to do everything, get her into something that's going to be challenging." And so, yeah. So, I got into piano lessons, we found a guy down the street who was able to teach, and yeah. The rest is history.

Glory: Wow. Well, I think it's incredible how we actually start our journey, and how through that teaching, somehow that formulates our future as educators. How do we motivate our students not only to learn, but to follow in our path, and what really started you on your musical journey, and ultimately into your business, Hetty?

Hetty: Well, I think probably like most teachers seem to start, somebody hears you play piano, somebody hears your proficiency, they can tell that you're somewhat accomplished. That you've been able to practice so you've gotten where you are, but I didn't have any formal training at all. And then somebody asked me, "Let's see if you can teach my kid."

Glory: Right.

Hetty: I actually was a travel teacher at first. I had a full-time job as a bookkeeper and then I would go to their place after school, or after their school time. And from there, it built into teaching more out of my house as well, but I think that I probably took about a 10 year break or so in between where I didn't teach very much. And then I would say I've been a full-time teacher now for about 20 years.

Glory: Wow.

Hetty: Yeah. As the kids were growing up, and I'm lucky that my husband's an elementary school teacher, so he could be home with the kids after school and that sort of thing.

Glory: Right. And certainly you can speak the same language and understand that the teacher connection. I think one of the things too, that you and I are passionate about of course is education, as we both shared a love for teaching music for young children. I taught the program for over 20 years, and it was certainly an influence in my learning path as well as to how to continue teaching and certainly get involved in teaching young children, and therefore ultimately I developed the Ultimate Music Theory program because it really was there, and then created the Ultimate Music Theory certification course, and of course I was so thrilled that you completed the certification course because it really is something that put us on our path. And I do want to say congratulations Hetty, because not only are you a fantastic teacher, but you're a fantastic student, you know?
When we talk about teaching to our student's strengths, and I really believe that it's important that we not only identify our own style, visual, auditory, or kinesthetic, but we also need to identify our students' learning style. I think if you really want to teach to the student, isn't ... you agree that that's part of the connection, isn't it? Is understanding their learning style as well, right?

Hetty Jagersma Student Learning Needs

Hetty: Oh, 100%. I have a new young student that I started about, I would say six, eight weeks ago now, and his mom transferred over from another teacher. She said somehow the other teacher didn't quite understand him. He was not making progress or whatever. So, I met them, and I thought, "Ooh, this is going to be a challenge." Because he's a busy boy. He's a total six year old boy. But he's got the brain of a 20 year old boy, so he thinks he can do this, but eh can only maybe do this, so I'm sort of tricking him into thinking okay, you can play Star Wars, that's fine. But we need to be doing the easy version. Because he came to me with something that was like probably a grade eight version.

Glory: Yes.

Hetty: So, he learned how to play Star Wars, just using another method book then.

Glory: Right. And I think that that's the interesting thing, and that's what makes you a great teacher Hetty, is because you did meet the student where they wanted to learn. And through your direction you could say, "Perfect. I love Star Wars too. Let's learn that. We're going to do this version. It's still Star Wars, but at least you're fulfilling their desires, right?

Hetty: Yeah.

Glory: Because sometimes-

Hetty: Then in the meantime, I'm sneaking all the other stuff in, so it's-

Glory: Yeah.

Hetty: We're having fun. Last night he climbed up here on the bench, and he was full of gas, and off we went. It's good. I wish I could channel some of that energy onto me sometimes, but ...

Glory: Could I just have your energy for a minute? I think it's so interesting to be able to identify the visual, auditory, or kinesthetic learner because often times my learning style, originally I thought it was kinesthetic. I would've bet you money on it, and then when I took my neurolinguistic programming, like I became an NLP practitioner, I actually then learned and studied, and realized oh, I am a visual learner, which I wasn't aware of, because you don't know until ... like how do you know? You just kinda guess, which is what I did. But then, when I started to learn about how to identify learning styles for my students, and I had exactly the one that you're talking about, the little kinesthetic student, that's like bouncing all over the keys, and bouncing all over the bench ...
I did a funny thing with one of my students. I'll share my secret with you, and Gillian, who is still my student, but now obviously advanced, but when she was little I used to duct tape her feet to the floor, and we did it more as a joke, but it became a landmark. I would just say, "Duct tape", and then she'd put her feet on the floor, because she would swing them and do whatever. But it was just meet the student. I knew that she had trouble doing that, so I just wanted to help her focus. So, anyway. I want to remind you to let us know what you think, because we're just sharing ideas, Hetty and I. So, remember Sola's down below, but certainly participate.
And tell us what you think. I know we've got ... I'm trying to see all of our comments on here as well. Oh, Sara Campbell is joining us this morning. Hey, Sara.

Hetty: Hi Sara.

Hetty Jagersma Student Learning Needs

Glory: She's our new biz coach. She's amazing. You know, one of the things that Hetty and I are talking about, that when we think about students and all the different learning styles and abilities, what do you think maybe is the one thing that you feel is important about teaching students where they are? And I actually invite our listeners to let us know what you think as well. So Hetty, what is the one thing that you think is important about teaching students where they are?

Hetty: Well, sometimes I think parents come into ... or put their kids in lessons with the expectation that they're going to be able to play something just like that.

Glory: Right.

Hetty: And so, part of it is educating the parents almost, I think, before we educate kids. Being able to tell them, and be able to formulate in words how your teaching is going to come along. Like rest assured, the first month or the first year, it's not going to feel like you're doing much, but we're going to get somewhere. So, stick with it, don't ... it's not just 10 weeks. You can't just all of a sudden get them to play Beethoven, or Bach, or Star Wars.

Glory: Yeah, that's right.

Hetty: So, just stick with it. Just stick with it, and to put in the time and usually it works out. I just had a phone call with a parent this week who called me, and she says, "You know, my daughter doesn't have a sense of rhythm, and I'm not sure if I should put her back in lessons next year. And I don't know." And I said, "Well, actually I talked to her last week, and she said she's been practicing a lot with headphones on." So, you can imagine this girl is always hearing her practice time in her head, and she comes to lessons with me, and what does it sound like?

Glory: Right.

Hetty: It's not her parents aren't really totally hearing her play, they just hear that she can't just run to the piano and play whatever praise and worship song they want her to play, or whatever, Twinkle, Twinkle Little Star, because I'm actually teaching her how to read.

Glory: Right.

Hetty: So, I always tell them ... I'm trying to teach myself out of a job. I mean, work myself out of a job by teaching them how to read, and that way they can pick up any of the books that we have, and hopefully they can carry on from there.

Glory: Yeah. One of the really important things that I think you said Hetty, and that is that you almost have to not only teach to the need of the student, but you also have to teach the parent, because sometimes we're lucky enough that the parent has also taken music lessons, and so they get it. But very often, parents put their children in music lessons because they didn't have an opportunity to learn, and so they have no concept as to how to support their child in practicing, or if they should even sit with them and listen. They just kind of say, "Go to the piano", or, "Go do your practicing", and kind of shoo, shoo, shoo. I personally was blessed to have very musical parents, and my dad sat with me every single day, and would tap the piano.
This was before we had a metronome, to help me stay in time. So, I had that. He wasn't my teacher, but he was certainly my parent and my full-time coach, and I certainly passed that onto my kids. So, I think you're really doing a great service to educating the parents as well. I'm just kind of looking through our little comments here, because we've got ... oh, hello Elliott. He's joining us here, too. Thanks, Elliott. And Ivy Wong, all the way from Hong Kong. My goodness. She's also doing the Ultimate Music Theory Certification Course, and she's so dedicated, and I know she wanted to see you today Hetty, because-

Hetty: Very fun.

Glory: ... it's very fun. Thanks for joining us, Ivy. One of the things, I guess, that I think musicians need to learn music theory, and because obviously, even if they say, "Oh, I don't study music theory." I go, "Well, of course you do. Otherwise, you couldn't play anything. You wouldn't know what a half note is, or a key signature, or a time signature." So, we know musicians need to learn music theory, but do they need to do exams? And I'm going to invite our audience to let us know what you think. Do musicians need to do exams? So, I'm going to throw this one to you Hetty, because young or older adult students, they just want to play for fun.
So, what goals can we set for them if they say, "No, I don't want to do exams", or do they need to, Hetty?

Hetty: Well, I personally am not a to the exam type of a teacher, but I can teach to exams.

Glory: Right.

Hetty: And I do teach to exams a lot just because it's often a goal or a good expectation, something for the student to work towards. But the thing is, sometimes it can stifle them a little bit, because I don't know, I've met some teachers that only teach say three pieces. They'll teach their list A, list B, list C, and they'll teach their study, and a little bit of oh yeah, we gotta catch up on our technique and let's do the exam. That's how I learned. I was in level five, or grade five by the time I finally got to an actual teacher-teacher, and they said, "Yeah, you're really good at playing, but your technique is really not there, so we need to get you caught up, and let's do a test."

Glory: Right.

Hetty: So, I think it's a goal, and it's also a way to gage where the students are, and it's good for parents, because parents ... that's how school works. That's what they understand, it's what they get. So, when this parent called me the other night and says, "Well, she's taken lessons for a year and a half. Is she progressing?" In some ways, it's easier if I would have had an exam to refer to and say, "Look, she's got 87%, and we just need to work on this, or that." So, I think my goal with this student next year will be to see if I can get her through a prep exam, for example.

Glory: Yeah, exactly. One of the things that ... and I feel exactly the same way you do. Does every student need to do a theory formal written exam? They don't need to, but I think one of the reasons that I encourage my students to do exams, whether they go do formal ABRSM, or Royal Conservatory of Music, or the state exams, whether they're in Texas, or Washington State, wherever, doing state exams. I encourage them to do exams, even if they're doing the Ultimate Music Theory practice exams for a few reasons. One, because you're right, it shows the assessment of knowledge as to what have you retained, and wow, look how great I did, and a goal towards, work towards. And two, because you can show that to parents and say, "Well, here you go. This is where they're at."
And actually, one of the reasons that in the Ultimate Music Theory books, and I know you're familiar with them because you've taken the course, but one of the things that I was really adamant about was showing progress, and as the students are going through the Ultimate Music Theory Program, at the end of every lesson is an accumulative review test, so if you're on lesson five, the review test is about everything from lesson one all the way to lesson five, and then to lesson six, so it's constantly reviewing. And then what we did do, you probably can't see it, but at the beginning on the front cover, we actually did a little report card.
So, as students are going through the program, their parents can see oh, they got 98, 97, 96. So, it's continuously showing you how well you did, and how you're progressing, because I think just because a student wants to take music lessons doesn't mean that they need to do an exam, but I think it's important that we are able to assess where are we at? In anything that we do. Right? So, now we know-

Hetty: I didn't even clue in before on that ...

Glory: Sorry, pardon me?

Hetty: Sorry, I thought you were done. I didn't clue in before about the report card on the front. That's a good tip.

Hetty Jagersma Student Learning Needs

Glory: Oh Hetty, yeah. It's a little report card. You know, I must share with you that one of the things I love about talking to you, because I always get ideas from everybody that I talk to. I like to listen, and I like to learn, and that idea actually came from one of the Ultimate Music Theory certified teachers, and when Shelagh McKibbon-U'Ren, who was my editor on this series, and coauthor on our other books, and one of the teachers said, "You know what would be great? I love how you have the review test, but it would be nice if you put it right on the table of contents, because it's like a little report card." And I said, "What a brilliant idea."
So, when we did the rewrite on it, this is a few years back, of course, we actually incorporated that. And my students love it too because they get to see their report card, so it's kinda fun. So, we've been talking about teaching to the student needs. So, here's a great question for you, Hetty. Do students need to perform? So, I love to play the piano, but I get really nervous if someone is looking at my fingers. So, do I have to perform? Do I need to perform? What are your thoughts?

Hetty: Well, you and I are both familiar with the Music for Young Children program, and so we have three, four and five little bodies on the floor in our rooms, and they're used to playing together with each other. And they're used to playing on their own keyboards as soloists. And with other people in the room. So, I think it's a great little experience for them to start with their so-called performance time. I grew up, like I said, with my first teacher was an insurance agent who dabbled in a little piano teaching. And then the next one was a high school student who ... whatever. Because my parents didn't know. They didn't realize that you needed proficient teachers.
So I never really had a chance to perform, but in spite of it all, I'm still here. We're still doing it, and I actually just recently started playing in our church as pre-service songs and that sort of thing. But so, is it important to perform? Not everybody's going to be a performer. Like to me, piano, what I love about piano is the teaching aspect. I think that's the big thing, but I can perform and I will perform, and I have accompanied a lot, and that sort of thing. So, I think it's good for children, students, adults, everybody to experience performance. I had a teen student on my bench last night, he only has taken lessons since January. He said, "Do I have to?"
But I said, "You know, let's give it a shot. You just played with your big band." They went on a band tour to Ontario, all the way from BC, so it was quite an adventure. "You're a soloist in your band, let's try it. You know? Pick a song that you think sound ..." Because he's like, "Oh, I'm just a beginner." Everybody wants to sound like they're professional. But we're all beginners somewhere.

Glory: I think one of the support things too, and I have young students in there, and they're nervous about performing, so then I often do duets with them, because there is such that safety, because if you hear a wrong note you can just go, "Wasn't me, wasn't me." You know? You can blame Sola. You know? Because does everyone have to perform? Perhaps not everyone. I know I have some adult students, and they truly just want to play. I had one student, she was 74, and she was starting music lessons, and her whole goal was simply to play New York, New York. That was the ultimate goal, that's why she took piano lessons. She got one of those big note music books with the notes written in the note name, which is totally off my allowing, but at 74, she said, "Look, I just want to play New York, New York."
So, you know, she would not perform because she wasn't comfortable, so in that instance, she just wanted to play for her personal, in her little condo, for herself. But as you said, when we have I think young students, it's a confidence builder, because for them, their future is about getting up and presenting in front of a classroom. Perhaps speaking, perhaps leading a group at school if they're working either in band, or on a science project. So, I think by starting off maybe with doing duets, and then going on and letting them fly on their own, we're kind of giving them wings, aren't we?

Hetty: Yeah. Well, there's so much more to music lessons than just the music lesson.

Hetty Jagersma Student Learning Needs

Glory: Yes. Yep. I think as teachers, what are we going to do now with those non-practicing students? Like what techniques can you use, Hetty?

Hetty: Well, I don't know if you can see behind me or not, but there's a big stack of books, right over there.

Glory: Yes.

Hetty: So, if they come to lesson without a book, I've always got something to pull from. As long as they have their bag, we practice right at lesson. I don't get too excited about it.

Glory: Yeah. I think that's an important thing too, is that sometimes I talk a lot about communication, and sometimes if we have that student, that non-practicing student, maybe it's because they've had things that ... circumstances that happen at school or at home and they don't feel comfortable even talking about it. So, they just take that pain point of I don't know, I didn't get to practice. So, I think being a sympathetic ear, because we don't always get to do everything that we have on our to-do list, best as we try. So, I think that's a great idea. When I have students who don't come in, we also just say ... or don't bring their books, or couldn't have a chance to practice, I usually just say, "You know what? We're just going to sight read today, so we're going to go ahead and do something."
What do you do with an adult beginner who says, "I don't want to play out of a baby book"? Now what happens?
Hetty? Oh, I think she's having computer problems. Well, my computer died. Okay then. I guess it's just me. Well, if Hetty comes back, we'll share. If not, I'll just go ahead and share my ideas. So, if you have ... my question was, if you are an adult beginner, and you don't know ... you don't want a baby book, where are you going to start? So, my thoughts would be that make sure that you are ... you have those tools. You know, Hetty talked about having those tools behind her so that she could provide her students with ... oh, she's back.

Hetty: Sorry.

Glory: Oh, there she is.

Hetty: My computer was plugged in, but it was the ... the power bar wasn't turned on.

Glory: Oh, that's okay. I was just complementing you. I'll review my question, and then I was ... the question was where do we start with an adult beginner who says, "I don't want to have a baby book." I always think that's a bit of a challenge. They want to play things with two hands, just something immediately. So, what is your suggestion when you have an adult maybe giving them something to learn by rote, or how do you ... or do you even ... because I know you teach a lot of young children, do you take adult students? And how do you guide them through that?

Hetty: Yeah, I do have adult students. I've got one that I'm actually teaching via FaceTime still, that I had from previous province where we lived. And I have another one that just started this year. She also transferred from another teacher, who she said she felt she wasn't really progressing from. So, I haven't had too many beginner-beginner adult students, so but when I do have adult students, I try to give them a scale right away. So, we're playing a scale with chords, teaching them how to do our one chord, four chord, five chord, and all of a sudden they feel like they're playing something big.

Glory: Yes.

Hetty: And that's in their practice time. And then the same as little kids, you sneak in all the other ... the goodies, right? The theory, and the basics.

Glory: Yeah. One of the things, and I've had many adult beginner students, and they want to learn music as well, and one of the things that when we were writing the series, is that I wanted to make sure that adults had a good starting point, too. So, when your adults are starting, you can definitely start them in the prep one, Ultimate Music Theory Prep One Rudiments workbook, Prep Two, or the basic beginner book, the yellow book. Because this is really the perfect place for them to learn, as you said, the one, four and five chords. There's no cartoon characters in them, they're just simply engaging books with that cumulative step by step for learning theory, and I think it would be really effective for your adults.
And I do want to mention to our listeners, or ask them actually, if you have any questions, or friends who would benefit from this information, please let us know about them, please share, because we're all about connecting with other teachers.

Hetty: The accompanied book is also great for adults, I find, too. Because they can ... they've got it all in one, they're not looking at this oh man, I need to do five volumes before I can ever know anything, type of a syndrome that they get.

Glory: Yeah, absolutely. And the all in one complete Rudiments workbook is to design for that, because an adult student can absorb more information, they can go a little bit quicker, so it is a good resource for them. One of the things you and I talked about earlier was really connecting with other teachers, and what do you see as that one thing missing from today's teaching techniques that help students really ... that help teachers help their students?

Hetty: Well, I think when you're starting out as a teacher, find some people in your area that you respect, people that you appreciate how they teach. That's how I really got to know you guys all through MYC, back in Manitoba days.

Glory: Manitoba days.

Hetty Jagersma Student Learning Needs

Hetty: Used to make that trek out to the breakfast place once a month, and we'd talk shop. And it was great. It's a great way to learn, and to move forward. And that's where I also learned that it's not just a matter of somebody sticking your student on the bench, and make them play the scales, make him play his parts, and then he's done. You know, we learned how to make games, we learned how to do fun ways of doing ear training and sight reading. And that sort of thing. So, I think mentoring with other teachers, and find somebody that you ... yeah, can gel with, that you can mesh with, and you can work together, and hopefully borrow, steal, share ideas with them.

Glory: Absolutely. You know, you really put a smile on my face because I completely forgot about our little teacher breakfast meetings.

Hetty: Oh, those are good memories from Manitoba.

Glory: They are such good memories. And I think it's so important because often times, when you go to ... I'm glad you mentioned that, Hetty. I think often times, when you go to a conference or you go to a webinar, you're just 100% focused, you're taking notes, and you're just writing things down, and you walk out of there and you've learned something, which is great. But sometimes you just want to talk.

Hetty: Yep.

Glory: And you just want to connect, and I think we kind of had three tips here. My question was three success tips that you'd like to share, and I think that was your number one tip was network with other teachers, find out where they are, and maybe even start a group of your own. Call it The Coffee Place, and whether you meet once a week, or once a month, I think it's really inspiring to get to know other teachers, and maybe ... there's gotta be a teacher close by, right?

Hetty: Yeah. Although, I mean, we just moved here a year, almost two years ago I guess now, and it's difficult. It's difficult when you're in ... we're in Lower Mainland, Vancouver area, so there's a big population. And it's difficult to find people that you kind of can work with.

Glory: Right.

Hetty: I think as teachers, it's important ... we're all friends.

Glory: Yes.

Hetty: We're not competition to each other. We all have different strengths that we're going to be able to give to our kids and our community. I'm not going to be the teacher you want to send your student to if you want to learn jazz, for example. I mean, I can do it, but I'm not the professional jazz player, so perhaps I can send you to the person down the street.

Glory: Exactly.

Hetty: Who can teach that way, or just teach by rote, or that sort of thing. I mean, I do teach by rote, alongside everything else.

Glory: Mm-hmm (affirmative). One of the things that you mentioned too, is that if you do live in an isolated area, perhaps being part of, and I know it was one of your tips to share, was to join communities online, because just as you and I are sharing here, we're not in the same city, we're not even in the same province, but we can still connect, we can still join. I do invite our listeners to join the Ultimate Music Theory Facebook group, because teachers such as Hetty, Ultimate Music Theory Certified Teachers are on there. Feel free to ask them questions, reach out, communicate with them. You never know, they might move to your city pretty soon, so it's important to connect and reach out, and there's no such thing as a silly question, otherwise I'd be labeled as silly, silly, silly Glory because I ask a lot of questions.
I know you had a great tip as well, and that was something about scheduling. What is that success tip?

Hetty: Yeah, I'm going through that right now, because as you know, with MIC, we need to have our early-bird registrations in by the middle of May, so I always tell me parents, "Okay, I need this by May 1st", because that gives them a little ... me a little bit of leeway, to get the books and orders, whatever, organized. But stick with your schedule, set your schedule. Okay, I want to teach Monday to Thursday and I don't mind teaching from 3:00 till 7:00", say.

Glory: Right.

Hetty: That's my preference. But some people only want to teach Monday, Wednesday, Friday, they want to have ... or Monday, Tuesday and Wednesday. They want to have the rest of the week for other things. They don't want to teach full-time. Set your schedule, make your schedule work for you. For example, the other day, somebody messaged me, and I typically don't do makeup lessons, and he said, "Can I switch my son's lesson today?" Normally I would've been accommodating, if I could've, but there was no other time. And you know what happened? They came to their lesson at the regular time. They didn't really need to switch.

Glory: So, sometimes it is, it just ... We have actually a lot of comments, I'm going to try to pop them up here, Hetty. So, they may be questions for you. Okay. I do have some questions. Sara Campbell, you'll see me looking at the other screen here. Sara Campbell says, "Just the simple act of announcing their name and a piece is a big deal to students." I'll just pop that up on the screen so we can all see it. Hopefully I've got it there. Sara Campbell said, "Just the simple act of announcing the name, age, and the piece is a big deal to students", and I agree, right Hetty?

Hetty: Yeah.

Glory: That that's something that they can definitely assert to when they're coming in there. Maryanne shares with us that ... I'm just popping up a few comments here. Maryanne says, "I have parents complete a goal form at the beginning of the school year. They check what they expect from lessons, and they can also select the events, testing, Christmas recitals, theory day, spring recital, and so on." What a great idea, Maryanne.

Hetty: Yeah, I have a form like that too, that I hand out to my parents.

Glory: Oh, I really like that. Okay, Maryanne, I might copy that. I do have a form that I send out that's really more information than asking questions about would you like to participate in festival, would you like to do theory exams, would you like to do piano exams, those kind of things. So, good point, Maryanne. Oh, Sara Campbell said, "Ooh, that's something I didn't think about." So, not an exam teacher ... oh, Anita says, "Hi." That's awesome. Well, one of the things that I love to share about too, is one of the other tips that you came up with, and that's keeping up with what's out there, and when it comes to other opportunities such as methods.
How do you feel about that, and how can we not get swallowed up by all of the latest and greatest?

Hetty: Well, I just moved one province over, and I've got a room full of stuff over there ...

Glory: Yeah.

Hetty: Well, it's a bit of an exaggeration. It looks worse than it is because it's kind of spread around, but I've got a number of things that I moved over here, and I'm like, "Am I ever going to use this again?" It's something that grabbed me when I was at conference, and I didn't use it right away. You always talk about speed of implementation. If you don't use it right away, in your lessons, and you can't think of a way to incorporate it right away, it may have looked great when the person presented it, but it's not your thing.

Glory: Right.

Hetty: I've got a couple of methods too, that I picked up this way, and I think, "Oh, that would be really cool." Do I have time for it all? No.

Glory: Right.

Hetty: I think you have to work with your strengths, because you can get sucked into all the shiny bits, and it's ... not only is it expensive, it just takes space in your brain and you can't really do it all.

Glory: Yeah, I agree. Sometimes we do ... I know I get like that too, even if I'm ... I'm obviously a business owner, and I'll see someone else's website, and I'll go, "Oh my God, that's so good." Or, "That's so good", and, "Oh, this is this." And I think one of the things that I actually learned from ... I always have coaches. I have three coaches in different areas of my business, and I highly recommend that if you're a business owner, you need to have a business coach, just like if you think about the greats in sports, Tiger Woods, does he have a coach? Yes. Really? Why? He's already fantastic, great. It's important that we get those coaches.
But the story I wanted to share with you was one of my coaches many years ago, and I was too, as you said Hetty, new shiny object, new shiny object, and she said to me one day, she said, "Glory, when you have a student and that student comes in and says, "Oh, well my friends piano teacher does this, and my other band teacher said this, and this, and this, and this ..."" She said, "What do you say to them? You say, "Well, I'm your teacher, and this is the way I teach the minuet, or this is the way I teach this Christmas," or whatever the music is."
And I really had that aha moment that find what works for you and stick to it. And when you have a coach, you have to put all your faith in that coach, that they have your best interest, whether you're teaching, or whether you're a coach, whatever it might be, that's the one go-to. So, you need to look at shiny objects because you need to grow, but you just don't need to squirrel, as they say, sort of spread yourself too thin. So, now, as I said, I have three coaches that I work with in different areas of my business, and that's it. I don't look for anymore shiny objects. I have faith in them that they're there, just as my students have faith in me. I'm your teacher, and these are the books that I'm recommending, and let's go with it.
And one of the things that, speaking of bonuses, I do want to share that I do have an amazing bonus for teachers to attend my free professional development webinar. It's the learn the three master keys that you need to teach music theory more effectively. It's going to be a full workshop that you don't want to miss. You're going to discover how to teach theory in a really fun and effective way. Hetty and I have been talking about how to have fun with your students. I'm going to share three of my best pneumonic devices, but shh. Sola, shh. It's a secret. I'm not telling you now. You have to attend the webinar. You're going to learn about pneumonics, and what they are, and why you need them to teach faster. So, make sure that you get registered.
That's happening May 8th and May 9th. It's going to be powerful, and if you have any friends who you think would benefit from the information, please let them know about us, and you can click the little Sola link below for registration details. Now, as I mentioned, Miss Hetty has successfully completed the Ultimate Music Theory Certification Course, and Hetty, that was a few years ago.

Hetty Jagersma Student Learning Needs

Hetty: I was thinking that. That was like 100 years ago.

Glory: It was 100 years ago.

Hetty: I think I was one of your first classes-classes. Like it was in person?

Glory: Yes, yes. Back then, I did the first certification course in Manitoba, and it was all MYC teachers, as a matter of fact. And I think the first one we did had 27 teachers in the first certification course live, which was amazing. And then I went on to Calgary, and Edmonton, and since then we've traveled all over North America, from coast to coast. We've been in Florida, California, you name it, we've been there. Washington State, out east, out west. But I really, really enjoyed the live event, and now we actually offer it as an online course because as I mentioned, Ivy's here from Hong Kong.
We have a lot of people that were attending the webinar that I did yesterday that were from the UK, Australia, all over North America, South Africa. So, it's important now, even for yourself, you're doing online teaching too, that you can now take these online courses so that you don't have the travel expense, and hotel expense, and then you gotta find a babysitter, and there's so many more things into it. But one of the things that I asked Hetty about, was in the certification course, what was maybe three of your biggest takeaways when ... if you could share those with us.

Hetty: Well, I think I mentioned the speed of implementation. Right away, get the books and go home, and use them.

Glory: Yes.

Hetty: Do the homework yourself, run through the book yourself so you know all the little minute details that'll come up.

Glory: Yes.

Hetty: Because yeah, it's important to use it right away. And I think finding something that works for you. Ultimate Music Theory really works for me, because I really like how the exams are at the end, and it's like a ... what's that called? The leveled learning? Or whatever? Like spiral-

Glory: Cumulative learning, yeah. Cumulative learning.

Hetty: Cumulative learning. But the repetition is there, so students don't forget oh, what did we learn about dominant sevens way back in chapter two? So, yeah. That's really good. Another thing is don't be afraid to ask questions. There is no such thing as a dumb question, like you said before.

Glory: Yes.

Hetty: We're all still learning, and all of a sudden you get these bingo aha moments. One student yesterday that I was teaching online, she's working towards her basic level five exam, and she all of a sudden said, "I all of a sudden realize why the dominant sevens, why it's called the dominant ..." She's known how to write these things all along, but all of a sudden it clued in, you know? It's note number five, dominant.

Glory: Yeah.

Hetty: So, don't be afraid to ask questions, and that's what I always encourage my students, too. I'm not going to make fun of them or whatever. It's fine to ask questions, and I don't think we-

Glory: Unless it's really silly, then you have to make fun of them.

Hetty: Well, we make jokes, yeah. I mean, you can probably figure out that I'm not exactly the most serious teacher on the bench here, but ... So, but yeah. And if people are mocking you for asking a question, well then maybe you're in the wrong circle of online people, or whatever. But I don't think the UMT group is quite like that.

Glory: Yes. Absolutely.

Hetty: And I like to also apply the theory concepts to the playing, so make it real. Because when I did my grade five, like I said 100 years ago then, we all of a sudden had to catch up on technique, we all of a sudden had to catch up on theory, we all of a sudden had to do all this stuff. So, I was probably kind of learning it along the way, but not really. So, I try to incorporate ... all of a sudden, they're doing ear training, and sight reading and everything else.

Glory: Right.

Hetty: Into the lesson.

Glory: And one of the things, too, that we did do, and I'm so much about learning the theory not only in the written way, which is important because we retain 30 to 40% more information when we actually write things down regardless of to your learning style, so that is important to use written books rather than just say, "Well, I learn it while I'm playing." But when you're using the Ultimate Music Theory workbooks, there is analysis questions at the end of every review test, and those are for sight reading. Like I use my workbooks with my students where they do the written work, but then we take it up to the piano and we actually play the exercises, so you said, play the dominant seventh chord. Play the analysis piece, and they're specifically written for the grade level that they're at.
So, these are not analysis on Tchaikovsky's something or other, where you're analyzing and finding the chords in the piece but you could never play it. Shelagh and I actually wrote the pieces that are in the analysis specifically so that you can see those concepts and then play them for your sight reading activity. So, it's more than just writing theory, but as you said, doing your ear training and sight reading-

Hetty: It makes it practical. And that's the big thing for me. Something that's abstract for a lot of students, it doesn't ... and again, you have to educate the parents, because for example, yesterday a student came in with their purple prep book, and she says, "I'm all done. You can finish marking it. And my mom says don't give me another book because I'm not coming back to piano in September. I'm going to do guitar so I don't need anymore theory." So, I didn't get a chance to talk to her mom last night, but now that we're talking here, I'm thinking yeah. It's interesting how people think oh, we worked through the book, we're done. We can close the book and it's ... you know? Check. But that's not ... they don't realize how it's actually applicable to what they're learning.
Even guitar, it's got chords. And dominant sevens, and they just don't realize it.

Glory: They don't. You know, it's funny you mention that, I was sharing the other day that I had a student that came to me, adult student, and she is a professional singer. And her name is Leanne [Goose 00:43:49], very, very talented, multi talented singer. And so, she came to me and she said, "I need to learn music theory." And I said, "Oh, well okay. Do you play an instrument?" She said, "No, I'm a singer." And I said, "Great." And I said, "So, why are you interested in learning music theory?" She said, "Well, every time I go into rehearsal, and the guys say to me, "What key do you sing this in?" I just always say G." And I couldn't help but laugh, and I said, "Oh, well that's interesting."
And she said, "I know, they laugh too, because they say, "Well Leanne, you can't sing everything in the key of G because what if this is your range, and the highest note's over here, but you don't get that high?"" So anyway, she started learning music theory. And I actually put her into the basic Rudiments ... no, pardon me. She did do prep one, and prep two because I was just writing prep two at the time, and it was actually because of Leanne that I changed the format of some of my writing because as an adult learner, she asked more questions than young students do. And in one of them-

Hetty: Yeah, why?

Glory: Right? And in one of the questions I was writing, and I think it was the prep two book, and she was doing the review test, and I had a bunch of terms in there, and she said, "Well, how would I know that?" And I said, "Oh, because the table of contents is at the back of the book." And she said, "Well, how would I know that? You didn't teach that to me." And I just had that aha moment as an author, going, "You're right. I didn't." So, I changed. I changed all the lessons to incorporate, as you know, because you teach UMT, I incorporated all the lessons so they have a little bit of maybe just learning dynamics in lesson one, and just learning tempo in lesson two, and then of course accumulatively going through the program.
But the reason that originally I wrote it like that was because all the other books were like that. Table of contents is at the back of the book. They never taught it, you just had to memorize the list, and that was it. So, it was really ... students actually help us teach better because we learn, and especially those adults because they ask all those different questions, right?

Hetty: Well, and don't just assume that they know it, because like I said with my little student the other day, she's like, "I just clued in. Dominant seventh is built on note number five." It's like, yeah.

Glory: Yeah. And they have the aha moment. Well, I want to say thank you so much Hetty, for sharing all of your tips and tricks, and jumping out of bed early, to come and join me this morning. I'm like, "Hetty, we're on in eight minutes." "What?"

Hetty: West Coast, West Coast time difference.

Glory: I know. The time difference is crazy. And even as I'm lining up the webinars for the people out in Australia, I'm doing webinars at 9:00 at night, because for them, that's 12 noon, and so we've got a lot of little time changes, so sorry about that, but I'm glad that-

Hetty: Oh, no worries. We worked.

Glory: It all worked. If you'd like to learn more about the Ultimate Music Theory certification course, I just want to invite you to make sure that you get registered for the professional development webinar coming up, the three master keys you need to teach music theory. And I'll be sharing all of these ideas with you. Don't forget to join our little Sola, and make sure that you're implementing in your studio what you are learning about today. And speaking of moving forward, Hetty, what are you doing in your studio next? What's coming up next for you?

Hetty: Well, we've got next week, May 4th, I've got a concert that I'm actually singing at. It's called We've Got Your Bach. So, we've got your back.

Glory: That's so cute.

Hetty: Yeah, the conductor that we've got there is amazing. I went back to choir starting in January, just so I can learn how to conduct.

Glory: Yes.

Hetty: Because I've been in a choir, and I've been an accompanyist many times, but I've never really ... and I've observed conductors, but I've never really been a conductor. So, I was approached and asked if I could start a choir, possibly in the future, and I'm always willing to learn.

Glory: Yeah.

Hetty: And I've also learned the most powerful word in the English language is no, so I might just not do it. But we'll see. But so anyway, in the meantime I'm learning lots of Bach, and we're doing lots of singing, which is not totally ... I mean, I can sing. I'm a proficient singer, but my voice is not always the best. I probably need a little Sara training, I think.

Glory: Yeah, Sara.

Hetty: Can you come to Abottsford and help me? But so yeah, that's fun. And what I've done is I've included this as a lesson for all my students, so their students and their families are going to be coming to this concert. So, they're going to be hearing a harpsichord, they'll be hearing the organ, they'll be hearing the orchestra, probably some of the older [burl 00:48:31] type instruments, which is kinda cool. So, I've been working on that in my studio in the last couple of weeks we've been doing group classes this week. And learning all about Bach.

Glory: Oh, that's awesome. And I think it's fantastic that you are really giving students that wide spectrum, because Bach, Beethoven and the boys, as I call them, it's really fun to do jazz, improv, it's fun to learn chord structures, it's fun to learn a little bit of everything because you never know where your path will lead you, right? So, I think even in teaching young children, how do you know that that one student that you're teaching isn't going to be the conductor for the Philharmonic Orchestra? How do you know? You don't know.
So, by giving them and exposing them to all these opportunities of learning different music styles and genres, you're really doing them a great service. So-

Hetty: Well, it's not something that the parents probably would've bought tickets for, because it's a 7:30 concert on a Saturday night, and they're like, you know, "Should we go?" And I ... "Well, it's an hour, hour and a half out of your life, and it's an experience." Right? It'll be good.

Glory: Right. Yeah. Oh, well it's going to be very successful. I hope you take lots of pictures and share them with us.

Hetty: Yeah, I'll be sharing them on Facebook, so-

Glory: Okay, perfect. We're going to check that out. Again, I want to say thank you so much to Hetty for sharing her awesome tips, and insights on how to teach to the student. I want to say congratulations Hetty, of course, on all your success. And good luck with your performance, and of course planning your son's wedding. So, we'll see pictures of that too. So, on behalf of Hetty and myself, Glory St. Germain, and Sola, don't forget to check out our Sola below, and get signed up for the webinar. It's coming up in May, and we'll see you on the inside. Right Hetty?

Hetty: Bye.

Glory: Okay, see you. Thanks for joining us this morning. Bye now.

Hetty Jagersma Student Learning Needs

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