Beginning here, beginning now. (Independent Music Teachers Forum).

Try something with me. Sit down at a table or at your computer with your studio swap list. Ask yourself the following questions:

1) Am I teaching too many hours ... (to live, to sleep, to want to go on teaching)?

2) Am I earning as much income as I would like ... (to live, to sleep, to want to go on teaching)?

3) Are my students progressing as rapidly as I would like?

4) Is their music instruction as important to them as I would like?

For the vast majority of professional studio music teachers, the answer to the first question would be yes, if it weren't for the answer to the second question being no. This is the defining issue in our profession. How can we, in all good conscience, encourage our motivated and talented students to even consider a career in music if we do not have enough pride in what we do to charge a respectable hourly rate?

I was one of millions of high school students who was advised not to go into music because it was very difficult to make a living. Independent studio teaching was not an available career option. Apparently, no one had ever thought of advocating this as a viable professional occupation. Well, the times they are a changin', and we're still stuck singin' the same song.

There now exist, in many urban and suburban communities, real live specimens of professional studio teachers whose (considerable) income is largely or entirely the result of a reputation as an excellent teacher. Their students practice, progress and pay an appropriate rate for this level of (often) private instruction. These teachers frequently have been accused of having the "most talented students." There also is a general suspicion that, unlike the students of less successful studios, these "most talented students" do not have demanding school teachers or soccer coaches.

The reality is otherwise. Though talent always is striking when accompanied by years of guided and disciplined practice, the general, overall level of a studio is the result of the teacher's attitude that all must do their best.

Teacher and student alike spend many hours not settling for anything less. There is a general tenor of pride and sense of accomplishment that are part of every lesson, class and recital. There is a commitment to achieve weekly improvement, to develop an ability to play the instrument well, to understand and appreciate the sound and structure of well-played music. To the degree that we accomplish this, to the degree that our students leave each lesson with specific goals and objectives for improvement and some significant insights into their practice techniques, it would be truly surprising if they did not return the next week the better for it. This weekly commitment, extended over a period of months, defines the level of that studio. This commitment, extended over a period of years and decades, defines the level of life-altering interaction with music students that, by any criteria, should establish a profession of which anyone could be proud.

If the answer to question four, above, is no, then the most likely answer to question three also is no. What can we do?

The answer lies in personal inspiration and group interaction. We must communicate with each student on a direct and personal level the great importance and value of music study. We must use peer interaction to motivate them, so they recognize what can be achieved with focused, hard work over an extended time period. Younger students must be given a chance to emulate older students' achievements. Each student must develop a sense of pride and accomplishment in the work of other students in the studio. The studio itself begins to take on an organic life.

Some do this with classes; some with charts, posters or photographs. How are you doing it?

Could you, beginning here, beginning now, find ways to inspire your students a bit more? Perhaps invite them to attend a performance with you, or have them play for a friend and colleague. Perhaps cajole some extra practice time for a specific performance objective. A few excited students, well-placed and visible, can start a brush-fire of enthusiasm, and there always is the possibility of an outbreak of excellence.

Yes, Virginia, there is a professional studio music teacher. The change under way is this: For many years, there has been a perception that the availability of extremely inexpensive music teachers made it impossible for anyone, whatever their credentials, to charge an appropriate professional rate. Now, teachers among us have proven the possibility of earning a professional living as independent studio teachers because of the success of their studios, and our willingness to discuss the questions of rates, fees and policies has encouraged a generation of teachers to begin increasing rates. Some have chosen annual increments, and some, emboldened by tales of heroes who have gone before them, actually have increased their rates by as much as 25 to 33 percent in one fell swoop. Not only did they not lose any students, they occasionally were chided by their students' parents for not having done this years ago. In every case--and I mean every case--increasing rates has increased income and, where sought, made it possible to earn more money in fewer teaching hours.

--Kenneth Lee
National IMTF Chair, Vienna, Virginia
He is an independent music teacher who
instructs clarinet.