It's a group thing: getting started in group teaching.

The room was filled to capacity; seventy-five enthusiastic teachers, representing twenty-three states, were seated in semicircular fashion around three studio scenarios; three vertical, acoustic pianos and a chalkboard, a computer and screen set for transparencies and Power Point presentations, and a T-shaped digital keyboard lab. A stationary TV camera was centered on a platform in the midst of the audience, and movable cameras, followed by the customary tangle of cords and cables, occupied much of the periphery.

From Friday afternoon until noon on Sunday, these teachers and six clinicians explored the mysteries and marvels, the principles and practices of group piano teaching, while a skilled TV producer and his crew documented every word and action. The site was Indianapolis, Indiana; the event was the very first seminar presented cooperatively by Music Teachers National Association (MTNA) and the National Piano Foundation (NPF): Getting Started in Group Teaching. The clinicians discovered that the audience consisted not only of those eager to get started in group teaching, but also many who had already experienced its benefits and were eager to learn more.

Enthusiasm, good humor and collegiality were the order of the day; within that brief window of time "a camaraderie developed," attendees praised the opportunity to "learn not only from excellent clinicians, but from other participants," appreciated the "time allotted to sharing experiences" and enjoyed "intermingling" in order to "learn about different approaches." The teachers all took home a large, priceless notebook of resources; some took home new philosophies as well. One teacher admitted, "The seminar turned around my opinion of group teaching;" another claimed, "It changed my methods and my life!"

The TV version of this unique event, edited to fit into a reasonable time frame, will soon be available for use by individuals or associations. MTNA and NPF are in the process of planning a second seminar, to be scheduled in late summer of 2002. Meanwhile, just to pique your curiosity and whet your appetite, read on and contemplate some questions and answers about group teaching that emerged from the Indianapolis seminar.

Perhaps the overriding question with regard to this topic is "Why teach in groups?" The group in Indianapolis answered this question vociferously and without hesitation. (Some typical comments appear in quotes above.) These individuals reveled in the opportunity to learn from each other, share ideas, discuss, ask questions, offer opinions and compare and contrast, under the guidance of several facilitators--all in an atmosphere of openness and collegiality. It's no surprise, then, that these teachers came together in search of ways to offer the same sort of opportunities to their students, who will ultimately reap the benefits--and the excitement--of learning from their peers under their teacher's watchful guidance.

Just What is a Group Lesson?

* A group lesson is a learning environment where all participants are involved at all times and in all activities, where individuality is respected and cooperation is encouraged.

* A group lesson offers a climate of respect--teacher to student, student to student and student to teacher.

* A group lesson offers optimum learning potential, enjoyment and excitement, as well as a chance to develop lasting friendships.

* A group lesson has many forms and faces: It can meet weekly, or less often, in combination with private or partner lessons or can stand alone as an effective learning situation.

* A group lesson is equally effective with children or adults.

* A group lesson can take place in a studio with one or more pianos, in a piano lab or in a studio with a combination of acoustic pianos and keyboards; equipment can range from chalkboards and flash cards to more sophisticated technology.

* A group lesson is an effective use of a teacher's time and energy.

What is it that Makes a Group Lesson Really Unique?

* Peer interaction and group dynamics are the main ingredients--the "rockbottom" essentials--in successful group situations.

* Peer interaction--"The combined or reciprocal actions of two or more individuals that have an effect on each other and work together"--is present when students are guided to learn from each other by sharing ideas and strategies, and applauding the success of a classmate in the process of a shared goal--learning music.

* Group dynamics can be described as an atmosphere where the excitement of exploring, being creative, performing--and hence, learning--is shared and nurtured by the contributions of all the members of the group and in the presence of supportive peers.

How Do I Get Started with Group Teaching?

* Begin with a resolve to explore this approach to teaching music and be courageous and creative:

* Find a colleague already engaged in group teaching, observe lessons, take notes and ask questions; enroll in a seminar or an appropriate college pedagogy course; or go to such sources as www.grouppianoteacher.com and www.music.sc.edu/ea/Keyboard/PPF or subscribe to a listserv by e-mailing [e-mail] with the message text "subscribe GROUP-PNO-L."

* With current students, try combining private lessons into partnerships, include students waiting for lessons--or a ride home--in games and other learning activities, plan special summer projects, like summer camps devoted to playing jazz, accompanying or other forms of enrichment. Try overlapping partner or private lessons to offer interactive opportunities.

* As you interview and accept new students, group them according to age, background or interests to create the best possible learning situation for all individuals.

* Develop a policy, a brochure, a logo, a website or homepage to inform and enlighten current and future patrons of the benefits of group lessons and the manner in which they will be conducted in your studio.

* Consider your teaching space and instrument inventory, remembering that it is not the equipment that makes a good group lesson; it is the people involved in the process!

* Familiarize yourself with local zoning codes aid IRS particulars--especially those involving business expenses and deductions.

What If I Want to Add Space or Equipment, and What About My Income?

* Consider your desired income, factor that with the number of students you want to teach, projected expenses and the hours you wish to spend engaged in your business to determine the tuition you must charge.

* Consider adding another acoustic piano or digital keyboards (Piano labs come in all sizes!), a computer, sequencing equipment, software and other teaching aids; factor that cost into the mix.

* Remember that there are many paths to financial assistance, such as small business loans, and MTNA offers a grant to individuals who wish to start or upgrade their independent studio and a number of teacher-enrichment grants to individuals who wish to participate in continuing education.

Isn't It a Nightmare to Schedule Groups of Students?

* At times, but remember that sports teams, dance studios, chess clubs, Scouts and other group activities all set their schedules and--amazingly--participants comply. Determining a group piano schedule should be no different--and no more difficult--particularly if the teacher stands firm and believes wholeheartedly in the validity of this educational process.

* Keep in mind that parent carpools are possible; older kids can organize their own carpools and perhaps get released time from school.

* As mentioned above, many possibilities for scheduling exist:

* Overlapping private or partner lessons.

* Twice-weekly lessons, one partner or private, the other a large group.

* Alternating group and private/partner lessons from week to week.

* Monthly specialty groups, like theory or performance classes.

How Important is Technology to Group Teaching?

* Digital keyboard labs offer multiple opportunities for ensemble playing and collaboration on creative projects; additional hardware is available to enhance student performance and practice.

* Music and materials for inspiring creativity also are readily available.

* Creative use of technology can expand communication between teacher, students and parents and can assist in the aforementioned marketing process.

What About Curriculum and Materials?

* A comprehensive curriculum allows students to explore the basic fundamentals of music that are applicable to learning, understanding and performing repertoire.

* With a comprehensive curriculum, students regularly engage in sight reading, transposing, playing by ear, accompanying, harmonizing and improvising--all skills essential to the development of a functional musician.

* Many excellent methods exist that are designed specifically with group teaching in mind; others can be readily adapted with careful planning, preparation and follow-through.

Can Individual Repertoire Be Taught in Groups?

* Imagine the infinite possibilities: "Analysis of new music can be a group discovery project.

* Performers will have multiple teachers offering multiple ideas on interpretation and practice strategies.

* Students can learn to listen critically and evaluate kindly and effectively.

* Students can learn to talk intelligently about music and musical performance and learn to perform comfortably before an audience.

* Students will have the opportunity to learn more literature and experience a balanced diet of musical styles.

What Kind of Teaching Strategy Works in a Group Setting?

Conceptual teaching is both efficient and effective.

* Stated simply, a concept may be defined as a fundamental, basic idea that offers infinite possibilities for reapplication.

* Teaching conceptually enables students to internalize musical ideas more readily and experience and apply them to multiple situations.

* Teaching conceptually facilities sequential and spiral learning, relating new concepts to previously presented prerequisites, thereby building and broadening the students' body of knowledge.

* The following processes are present in conceptual teaching; group interaction enhances and facilitates each procedure:

* Prepare students for a new concept by providing a variety of ways to experience it.

* Proper presentation guides the students to discover a new concept.

* Analysis of a new concept aims students toward the goal of internalizing it.

* Multiple opportunities to reinforce the concept enables students to discover multiple applications to new situations.

* Ownership of a concept is gained by using it to create new music or to try new interpretative possibilities,

How Does a Teacher Accomplish All the Above?

* Lesson planning is the imperative; long-range plans and goals (yearly, monthly) ensure proper sequencing of material; short-range plans and goals (weekly, daily) ensure organized, comprehensive lessons and effective use of time.

* Observe the cardinal rules of lesson planning and execution: Teach, do not just assign, provide consistent review and teach for transfer of concepts.

* Develop a large "bag of teaching tricks": multiple strategies for teaching and reinforcing and relating single concepts, unique as well as tried-and-true practice strategies, games to liven the atmosphere and creative activities to expand upon concepts and repertoire.

* Remember that no two individuals learn at the same rate; take advantage of individual differences to encourage peer teaching and create an atmosphere of cooperation and friendly competition.

* Determine ways to elicit contributions from your students; utilize good questioning techniques, encourage discovery, embrace creativity and provide positive reinforcement, all with the goal of making your students excited about learning.

* Establish a class routine so activities can be accomplished without confusion and so students know what to expect, but be flexible and willing, when necessary, to allow the group to dictate the direction--and sometimes the goal--of the lesson.

It is the sincere hope of NPF and MTNA that the attendees at the Indianapolis seminar found the above information--and the many, many additional pages of details too copious to be included here--to be helpful in their quest for new ideas and new philosophies. We hope the dynamics of the Indianapolis group have infused new energy and excitement into each person's individual teaching, and the sincere love for learning that was apparent at the seminar is contagious and has infected all the students who have been beneficiaries of the expertise and dedication of their teachers.

We also hope that all readers will stay tuned to AMT, the MTNA website at www.mtna.org and www.grouppianoteacher.com for information about future group piano initiatives, including the release of the aforementioned videos and subsequent seminars. MTNA and NPF are dedicated to this project; it provides us a giant step toward our goal of developing and encouraging more music makers!

Brenda Dillon, Martha Baker-Jordan, Martha Hilley, NCTM, Mitzi Kolar, NCTM, and Marsha Wolfersberger all contributed to this story; in fact, without their expertise and collaboration, none of the above would have been even remotely possible!--JMR

Joan M. Reist, NCTM, is associate professor emerita at the University of Nebraska-Lincoln School of Music. She serves on the Classical Artistic Committee of the American Pianists Association, as district director for professional music fraternity Mu Phi Epsilon and as chair of the Nebraska coalition for music education. She is immediate past president of MTNA.