Healthy Hands: Injury Prevention for Young Musicians

Music should build confidence — not discomfort. As growing humans, many young students run into issues with pain as their bodies develop and adapt to the sometimes unnatural feelings of playing an instrument. Read on to learn how to support your student as they grow into a young person and musician!

Why Hand Health Matters

Playing an instrument can require bodies to be shaped or utilized in ways that are not intuitive. Think about the hand shape of a professional violinist: that is not a position that people will do naturally! Growing bodies are more vulnerable to tension. Younger musicians can be more prone to injury as their technique develops and their bodies mature.

Additionally, poor technique can cause habits that take years to undo. I learned an incorrect clarinet embouchure when I first started playing, and it wasn’t until my first private lesson in high school that my teacher was able to help me start correcting it. Because it had been years playing the instrument wrong, it took a significant amount of time to fix the issue. Learning improper technique can cause injury later on if it is not caught early. It’s essential to pay attention to these things, and your student’s teacher will be able to do this. Make sure to pay attention to your student as they practice to ensure they are following the guidance given by their instructor.

Warning Signs Parents Should Notice

Serious injuries are not super common in instrument playing, but just like any student involved in athletics, sometimes they can happen. Prolonged poor technique can cause things like tendonitis (something I’ve had issues with in the past), carpal tunnel, and things of that nature. If your student complains of the symptoms below, it might be time to consider icing the area, bracing it, or having a conversation with your student’s teacher regarding suggestions for how to help. Don’t encourage your student to push through pain as it could potentially lead to long-term damage in extreme cases. Please ensure also to speak to a doctor as I’m certainly no expert!

• Complaints of tingling or numbness. This could signal nerve pressure that can be helped with Tylenol, icing, or bracing. It might also be time to consult a doctor and take small breaks from playing the instrument.

• Feeling “tired” after only a few minutes of practice. This could be a burnout issue, or a muscle problem.

• Stiff wrists, raised shoulders, or visible strain. These symptoms can result from improper technique and should be addressed with the student’s teacher.

Instrument-Specific Tips

Every instrument is different, and so is every body. It’s essential to follow the guidance of your student’s teacher or director to understand a particular instrument’s technique. The suggestions below are just beginning guidelines.

• Piano: relaxed wrists, bench height, proper finger curvature. Tension is not good, and many beginners tend to use “claw hands.” Wrists do not need to be ramrod straight, and hunching on the bench is often another problem. An adjustable bench can help with posture, and relaxed body position.

• Strings: avoiding “death grip” on the bow, balanced left-hand shape. As before, tension is best avoided. Hands should be relaxed into the proper shape, not strained.

• Brass/Woodwind: weight support, neck/shoulder alignment. Beginning woodwind and brass teachers will often show students where to place the weight of their instrument. Because of the breath column, neck stiffness can be a problem. Make sure your student is not crunching up their shoulders, or slouching. Also, hands should be relaxed into the correct shape again, even if the hand shape is awkward.

• Percussion: stick grip, rebound technique, balanced posture. Sticks don’t need to be held in a vise, and standing instruments (like the snare drum) should be set to the correct height to ensure proper posture.

At-Home Prevention Strategies

Below are a few simple ideas to help keep your student’s body healthy as they learn to play an instrument. Your student’s teacher may also have some great suggestions!

• 5-minute warm-up routine. Playing an instrument uses muscles, and those muscles can definitely benefit from warming them up. Utilizes scales, arpeggios, or exercises to get the fingers moving!

• Gentle stretching. If your student is sitting down for a long practice session, it can be really helpful to softly stretch out the neck, back, hands, and arms before beginning. Stretches should be slow and careful—consult with your student’s teacher to get ideas!

• The “20-minute reset”: pause, shake out, reset posture. Practice sessions oftentimes necessitate maintaining a specific posture for a significant amount of time. If soreness or stiffness starts to become a problem, follow the steps above. Stand up, shake the body out, and double check that the posture has remained correct and not devolved into a slouch.

• Make sure the instrument setup isn’t too big or small. See my last blog post regarding the proper set up for a beginning pianist. The setup will depend on your student’s body type, size, and instrument so this is best done in consultation with your student’s teacher. Once the guidelines have been set, pay careful attention to your student and correct any setups that are not correct.

With simple habits, beginning musicians can learn healthy techniques that keep their hands and bodies strong and pain-free. Always follow the direction of your student’s teacher! Thanks for reading!

~ Charissa Garrigus, Instructor at Vibe Music Academy

Digital vs. Acoustic Pianos: What Teachers Wish Parents Knew

I have taught many a beginning piano lesson, and one of the first questions I always ask is: do you have a piano at home? Choosing the right instrument can make or break a student’s early progress—read on for advice and suggestions on selecting a piano for your student.

Quick Answer for Busy Parents
To break things down to absolute brass tacks, here is a simple equation for acoustic versus digital pianos:

• Acoustic = best sound + technique, larger size and more maintenance

• Digital = convenience + volume control, smaller size, easier maintenance

The most important things to consider, however, are budget, noise, space, and goals—there isn’t truly a “better” option hands down!

The Real Differences in Sound & Touch

Regardless of whether you select an acoustic or digital piano, there are few things that you should take into account unilaterally.

1. The instrument needs to be in working order. Getting a used instrument from a family member or somewhere like Facebook Marketplace might seem like an excellent plan, but oftentimes, this means expensive repairs would be necessary to get the piano functioning. Always ensure the instrument actually works ALL THE WAY before purchasing or accepting a piano! This means, all the keys should function, along with the pedals and any other features on the instrument.

2. Be certain the piano has a full keyboard. Some digital keyboards are on offer don’t actually include a full set of 88 keys. Even though this might seem to make sense for a beginner, it can really be problematic to posture, keyboard awareness, and many other things later on. I’ve had a few instances where I’m working with a student, only to find out they can’t play a full piece because their piano is missing half the notes!

3. Weighted keys are a must. Many cheap keyboards do not have weighted keys, which is extremely detrimental to piano playing. Playing on unweighted keys can create technique issues that are very hard to correct, along with having the potential to cause injury due to improper practice.

4. Touch sensitivity is extremely important. You’ll want to ensure the instrument you select has keys that can react to pressure. This is pivotal for learning dynamics, expression, articulation, and many other facets of piano playing.

5. Pedals: the big deal no one tells beginners about. Please be certain that the piano your student uses has functioning pedals. Acoustic pianos ordinarily have 2-3 pedals: the sustain pedal, the “soft” pedal, and a practice pedal. When starting out, the sustain pedal is likely the only one that will be used. If you purchase a digital piano, getting an effective sustain pedal is quite important as well. Your student’s teacher will likely have solid recommendations—check if the keyboard comes with one, and consider upgrading it. Acoustic pianos that are used might not have working pedals: check this before deciding.

When is a Digital Piano is the Right Choice?

Many first time pianists elect to use a digital piano to get started. This isn’t a bad idea at all, especially for students who are brand new to the instrument and just discovering interest. Because keyboards are often a more affordable entry point, this might make the most financial sense to beginners who aren’t yet committed to sticking with it. Furthermore, the ability to plug in a set of headphones to the keyboard can help with apartment or shared living, noise issues, and things of that nature. Keyboards also take up much less space than acoustic pianos, and can often be more portable and easy to get set up. No piano movers necessary!

When does an Acoustic Piano Make a Big Difference?

When you have a student who is planning long-term study of the piano, an acoustic instrument can be a huge step up. Most universities and professional concert stages utilize grand pianos for performances. Because the action, size, and space of an acoustic piano are significantly different than a keyboard, practicing on an acoustic instrument is really important for students looking to study music at a higher level. Experienced musicians seeking expressive control, more involved technique, and solid audition preparation should be using an acoustic instrument for their practice. Beyond this, higher-level repertoire often requires the sensitive capabilities of an acoustic instrument to be performed successfully. The soft pedal (not available on most keyboards) becomes an integral part of more advanced playing, as well.

What to Avoid (Common First Time Buyer Mistakes)

• Buying a keyboard with no weighted keys and/or missing range. As said before, the keyboards on offer at places like Amazon, Walmart, and other big box non-music stores aren’t always geared toward successful music-making. Ensure the keyboard you are looking at has true weighted keys (if you’re able to actually test it out, even better!) along with a full set of 88 keys.

• Underestimating bench height + stand stability. All bodies are different shapes and sizes—as your student grows and changes, it’s important to have the ability to adjust their bench. Some keyboards come with adjustable benches, and others do not. Cheaply made benches may not be stable for sustained usage. Many acoustic pianos have benches that are not adjustable—ask your child’s teacher how to approach making this work for smaller students. Oftentimes, cushions or boxes can be used to make up the difference. Keyboards will usually come with a music stand as well. These can be stable, or not: if you can, try and test out the stand strength before purchasing. If the stand won’t hold up a piano book, that’s not a good thing!

• Getting seduced by “bells and whistles” instead of touch. Although a keyboard with recording capabilities, play-along songs, background tracks, 100 different synth sounds, or LED light up keys might sound cool, these are not the priority. Focus on choosing an instrument with quality touch sensitivity instead!

• Buying from a convenient store. Stick to music stores such as Piano Solutions, Guitarworks, Guitar Center, or your local music shop. Places like Amazon and Walmart are not usually trustworthy when it comes to providing quality instruments. You’ll be far better off with brands like Yamaha, Roland, Kawai, , Casio and Korg than things like First Act!

In closing, your student doesn’t need the “perfect” piano — just the right one for their stage and goals. If you are ever in doubt, reach out to your student’s teacher or a trusted musician friend. Chances are, they’ll have excellent recommendations for you! Thanks for reading!

~ Charissa Garrigus, Instructor at Vibe Music Academy

What's in My Music Bag?

Every musician carries more than just sheet music—their bag tells the story of how they practice, perform, and prepare. Being organized is a very important skill, and this is no different when it comes to musicianship. Read on to learn some tips and tricks for staying tidy and being prepared!

As a performer and a teacher, I’ve had quite a bit of experience with packing a bag for my day. I’ve also seen quite a few student bags that are both great examples and terrible examples of how get set up for success. Below, I’ll share with you what I do along with what I’ve seen others do that both help and hinder success.

Essentials

• Music. The major necessity to have is one’s music. Now, this looks different for each musician. I use an iPad, so I make certain I’ve got that with me along with a charger just in case. In the past, I’d use a binder with page protectors so my music would last longer. Unfortunately, the page protectors did make it harder to write notes on my music—something to keep in mind if you decide to go this route.

• Instrument accessories (reeds, tuners, picks, rosin, neck strap, etc.). When I was playing clarinet more often, I would ensure I’d have plenty of reeds, cork grease, and things like that in either my instrument case or my bag. I’ll make sure I’ve got my organ shoes if that’s the instrument I’m playing. Your music bag should have everything you need to play your instrument, including backup items just in case.

• Writing utensils and notebook/journal. It’s always a good idea to have these items on you, whether you use a tablet or not. I’ve often been given sheet music that I don’t have time to scan, and I’ll need to make marks on it. Having a notebook is super helpful for keeping track of practice without having to use a phone. I often use a notebook to log rehearsals, performances, and practice sessions.

Surprising Finds

• Personal items. I’m a full time performer, so my bag includes things that I may need during the day sch as snacks, a water bottle, ChapStick, Tylenol, headphones, tissues, and a few extra Earl Grey teabags. It’s not a bad idea to have some of these things with you during long rehearsals—back in my marching band days, I’d add sunscreen and a hat to the mix. Because I’m a pianist, I also carry nail clippers and lotion. Having long nails or dry hands can be both irritating and inhibitive to my performance, so I make sure I can avoid those things. I even add a lint-roller to my bag on performance days when I’m wearing concert black.

• Creative tools. Many musicians have different systems for annotating scores, keeping track of practice habits, or staying focused during rehearsals. Colored pencils for marking music, sticky notes, practice apps, and other things can find their way into music bags. I often include a book to read or something to work on in case a rehearsal includes a piece I don’t play. Reading can help me stay focused instead of scrolling on my phone while waiting for my turn to rehearse. Sometimes, when performing in orchestra pits that can have long scenes without music, I’ve taken papers to grade or classwork to complete. It’s essential to stay in a rehearsal—don’t read a book while your director is working with you! But, having things to do just in case you aren’t needed is a great idea.

Teacher vs. Student Bags

Now, it is important to consider the extremes of over and under preparation. When I first started teaching, I carried way too much with me every day. I’d have a purse, a school bag, and a lunch bag. Three whole bags! When I started grad school, I’d have an armful of books as well. This was not good for my back, of course, nor was it particularly efficient. Now, I’ve gotten it down to a music bag and lunchbox, which is much more manageable. All that to say, don’t feel that you need to stuff a bag with everything you could ever possibly need—try to be circumspect in what you carry with you every day.

On the other side of the coin, I’ve had students who barely ever have what they need to facilitate a productive rehearsal. Stuffing loose sheets of music into a backpack is not only a great way to lose it but also a terrible way to make it last. Dropping loose pencils in a pocket or backpack also doesn’t help keep things from getting lost. Also, an instrument case isn’t really a great place to store a lot of things either. The instrument could become damaged or even the case itself if it’s being forced closed. Things like snacks or gum should never be kept in an instrument case as they can melt, or become moldy. Use a separate music bag to store these items, and use your best judgement about what you actually do need.

Build Your Best Music Bag

This is a quick checklist with the items I’ve found the most useful to keep with me in my music bag as a professional pianist.

• iPad and charger (or sheet music in a binder)

• Instrument accessories (apple pen, page turning pedal, etc.)

• Pencil and pen

• Notebook/Planner

• Phone charger and headphones

• Tissues/chapstick/hairbrush/tylenol/lotion (I keep these items in a small bag container inside my bag)

• Book to read/something to do

• Other items I’d recommend: a pencil pouch with highlighters, tabs or dividers for a music binder, extra folders

What’s in your music bag? Snap a pic and tag us—we’d love to see! I hope these tips and tricks give you an idea of how to stay organized. Thanks for reading!

~ Charissa Garrigus, Instructor at Vibe Music Aacdemy

Sight-Reading Tips for Beginners: A Simple Guide

Sight reading is an essential skill for professional musicians. Being able to sit down at an instrument and play the bare bones of a piece really helps to both learning music quickly and making use of often limited rehearsal time. Sometimes, musicians will have gigs where sight reading is essential such as playing for churches, weddings, or parties. For beginners, the idea of sight reading can be rather terrifying. When you are still learning how your instrument works, playing a piece without practice can be a daunting task. Below you will find some tips and tricks to improve your sight reading and help make it a bit less of a mountain to climb!

1. Start with Simple Pieces

The likelihood of having to sight-read a complex piece early on is quite low. While honing your sight reading skills, choose music slightly below your playing level. The main goal with sight reading is to expose yourself to music you don’t already know to allow yourself to read it more quickly. Rhythm and pitch accuracy are important, but WILL NOT be perfect. Hymnals and exercise books can be really helpful to sight read out of. Once you learn a style of music (such as religious hymns or etudes), sight reading them becomes significantly easier as your ear and muscles begin to recognize what to expect.

2. Look Ahead While Playing

Train your eyes to read one or two measures ahead. It’s always important to know what’s coming next, especially if you’re playing a piece you haven’t practiced. You’ve always got to be thinking about what’s down the line. This awareness can allow you to prepare for difficult spots and maintain the flow of the piece.

3. Focus on basics

When you’re sight reading, it’s not important or even essential to play all the notes. Depending on the reason for your sight-reading, the main goal might simply be to get through the piece. If you have a moment to look through the music before playing it, clap or tap any rhythms you think might be tricky. Make sure you notice the key and time signatures at the beginning and any points at which they might change. If you get tripped up, eliminate inner voices or ornamentation—melody and bass line are often the most important parts to play. Practicing chords and scales regularly will make a huge difference in sight-reading ability. The vast majority of music I’ve had to sight read has a basis in tonal harmony (meaning major/minor chords and scales). Being fluent in those basics means that my hands are already primed to play music in that frame. Although learning scales can be a bit boring, it is an essential tool for many other musical skills down the line!

4. Don’t Stop for Mistakes

This is the most important part of sight reading. Keep the tempo going, even if you miss a note. Stopping to make corrections will disrupt the flow of the piece and can cause you to get mixed up. The goal of exercises like these is to develop fluency, not perfection. You’re never going to give a recital make up entirely of sight-read pieces. But, you may need to sight read for an audition, a service, or a gig. This skill is very important and helpful, but perfection is not the purpose.

5. Practice Regularly in Short Sessions

I would usually begin my practice sessions with some sight-reading practice. 5–10 minutes daily is much better than long sessions once a week. Sight reading books tailored to different skill levels can be helpful, but they’re not necessary. As long as you have access to music you can practice sight reading! The only way to get better at it is to continually work at it. Plus, it can be lots of fun!

Be patient and consistent. Sight-reading takes practice, and is a skill that doesn’t usually come easy. However, it’s a wonderful and important skill that is worth the time it takes to master. Happy sight reading!

~ Charissa Garrigus, Instructor at Vibe Music Academy

Cheerleader, Not Conductor: Supporting Music Practice Without Stress

You don’t need to be a musician to help your child succeed in music! There are numerous ways you can encourage and assist your child in their musical journey. In fact, it’s absolutely essential that parents and caregivers take part in their student's’ music education. Read on for ways you can help your young musician learn and grow.

Music, just like academic work or sports, requires consistency and discipline. As an important adult in your student’s life, your participation and guidance can make a huge difference in their success.

1. Create a Consistent Practice Routine

• Set a regular time each day for practice. Forming practice habits that are consistent is essential, especially in young learners. I would often fold practice into my homework routine as a beginning pianist. It may be necessary for you to sit with your student as they practice. Learning how to practice takes work, and having an adult to give advice and assistance can be really important in the early years. Ask your student’s teacher what your student should be doing during practice sessions and make a list to refer to at home.

• Keep sessions short and focused—especially for young beginners. I used to set a timer for practice sessions. Very beginning students who are young usually only need about 10-20 minutes of practice time a day. Similar to exercise, practice is about building up muscle memory along with cognitive function. As your student grows, the time spent at the instrument should increase. It’s nearly impossible to “cram” for lessons: shoot for daily practice sessions as your schedule allows.

2. Provide a Dedicated Practice Space

• Create a quiet, well-lit area with all materials easily accessible. I’ve written a previous post about how to set up a practice space for your student. You’ll want to ensure your student has access to their music, a music stand (if necessary), their instrument, a timer, and anything else they may require. Having to stop practicing to get up and find a necessary item can mess up the process. It’s also important that your student’s practice space is quiet. Since sound is the focus of practice, having to compete with other noises makes it a much more difficult endeavor.

• Minimize distractions like phones, TVs, and siblings. It’s necessary for your student to stay focused and having things like the TV on can make this very difficult. Practice should be treated like homework with intentional, dedicated time and space and without interruption.

3. Encourage and Celebrate Effort

• Focus on progress, not perfection. Ensure that you are maintaining a positive attitude towards practice time. Pay attention to the things your student is doing well and what they are struggling with. Playing a piece perfectly isn’t likely to happen every session, but playing it better than the last time is a huge success.

• Offer specific praise: “I noticed your rhythm was really steady today!” Kids are aware when adults offer empty compliments. Showing that you are paying attention to your student’s efforts and invested in their success makes a huge difference in their own perception of themself as a musician. This can also help with goal setting. If your student has been struggling with a specific passage that they finally play right, point out the measure numbers and give them clear-cut compliments.

4. Be Present and Show Interest

• Ask your student to “teach” you a concept they’ve learned. Teaching is actually an incredibly helpful way of learning. Young students are capable of this as well as older students. Pay attention during your student’s lessons and make sure to follow up with requests made by the teacher.

• Attend lessons, recitals, and check in on what they’re working on. If you have to miss a lesson, ask your student to tell you about what they accomplished during it. Oftentimes, instructors are willing to take notes during a lesson—if you cannot attend lessons, this is a great way to stay connected to what your student is learning. Get involved in the performance preparation process, and make sure to attend recitals and performances. If your student knows you are as invested in their success as they are, they are more likely to succeed.

5. Use Tools and Resources

• Check out other posts on this blog for suggestions to help your student with practice. Things like metronome apps, practice logs, backing tracks, recordings, etc. can be really useful in

• Follow any recommendations from their Vibe instructor. Your student’s teacher is a great resource. If you’re unsure how to help your student do well in music lessons, ask their teacher for suggestions.

As an adult in your student’s life, your enthusiasm and support go a long way. It doesn’t matter how much musical experience you have—your willingness to engage in your student’s musical education is absolutely necessary. Here at Vibe, we would love to help support both you and your student in their musical journey! Thanks for reading!

~ Charissa Garrigus, Instructor at Vibe Music Academy

Ready, Set, Play: When Should Kids Start Music Lessons?

As a musician and music teacher, I have been asked often what the best age is for a child to begin taking piano lessons. My answer is always something along the lines of, “it really depends on your child and when they’re ready.” Some kids can jump into music lessons very early: I started at age four myself, partly because the kindergarten cut-off date where I lived meant that I wouldn’t start school until later and would be on the older end of my class. Piano lessons gave me something to do that helped me learn fine-motor skills, literacy, and things along those lines. Some kids, however, aren’t ready to begin learning an instrument until first or second grade. This guide breaks down some things to consider when thinking about when to begin music lessons with your child—it’s not a hard and fast set of rules, but things to keep in mind. Read on!

Readiness Over Age

As mentioned before, readiness is the most important factor when deciding when to begin lessons. Age is a piece of that, of course. But, consider the items below as they play a large part in determining how a child will do in lessons.

Key signs your child might be ready:

• Focus for 20–30 minutes without distraction. Lessons usually last at least 30 minutes. Your child’s teacher will know how to make lessons fun and exciting, but if your child isn’t ready to sit at a piano bench or hold an instrument for about that length of time, it might be a bit early to start.

• Fine motor control (e.g., using fingers independently). This isn’t to say your child should already know how to or be able to play already. Your child’s teacher will know how to help develop finger strength and independence. However, it’s important that some sort of fine motor control exists to build off of. Children around age 2 or 3 still tend to be developing those skills, which makes taking up an instrument more challenging for them.

• Can follow instructions and routines. These things depend on a child’s personality and home structure as well. Learning an instrument takes dedicated practice and a great deal of grown-up support. Practice is essential, as is following directions.

• Shows enthusiasm for music or instruments. Teaching a student who is uninterested in learning an instrument makes the job near impossible. A child’s buy-in to learning makes all the difference! That isn’t to say a student who isn’t passionate about learning an instrument at first won’t grow to love it—music takes dedication and persistence. However, a student who is blatantly uninterested can make the teacher’s job much more difficult. If you want your student to be interested in music, ensure that you expose them to it early on. Sing with them at home, play your instrument (if you play one), be intentional with listening to music. Watching my dad play the piano as a little girl and singing along to the radio was a large part of why I wanted to learn!

Age Guidelines

This guide is based on my experience as a music teacher. I taught general elementary music, beginning band, and beginning choir for about 5 years after graduating with my music education degree. As a band instrument specialist, my knowledge of when to start string instruments is more based upon the experiences of my colleagues. Once again, this guide could change completely based upon your own child’s readiness.

Ages 3–4

• Best for early childhood music classes rather than private lessons. I taught a preschool music class that focused on movement, rhythm, and singing. We didn’t do a lot of formal music literacy, and instead worked on developing kids’ senses of rhythm, beat, and singing.

• Activities like rhythm games, movement, and singing build a strong foundation. These were the main facets of my classes for this age group. Children at this age tend to have an attention span of about 3-5 minutes per activity. For a 30 minute class, that meant at least 6 different songs, movement games, or rhythm activities. Focusing on learning the intricacies of a singular instrument might be a bit beyond the scope of kids in this age range, though some may be ready. The famous Suzuki method encourages children to begin learning the violin at about 3.5 years old. I’ve never used this method myself, and can’t speak to its efficacy. Should you elect to go this route, a half-size violin and an instructor proficient in this methodology are essential.

Ages 5–6

• A good time to begin piano or violin lessons. Most of the beginning piano students I’ve taught were in this age group. Students at this age are ready to start school usually, and tend to be able to dedicate focus to both a weekly lesson and independent practice. The most common instruments to start at this age are piano and violin due to the physical capabilities of students at this age. Wind instruments are a bit on the large side and can’t really be altered, making them much more difficult to being this young.

• Can start reading music, developing technique, and forming practice habits. Being able to read music is so important. Musical literacy is akin to learning a new language. Students at this age have usually begun learning to read. Music can help develop that skill, and vice versa. As I said previously, building and maintaining practice habits is so important. Students of this age are more equipped to start this than younger kids oftentimes.

Ages 7–9

• Ideal for most instruments (guitar, voice, winds). This is the age most students begin instruments in school. Middle school or late elementary grade levels are oftentimes the first to offer band, orchestra, and choir classes. At this age, students are usually in the habit of independent work and discipline—learning an instrument can be a fun way to bolster those skills while also providing outlets for creativity, team building within ensembles, and artistry.

• Stronger attention span and motor coordination. Although children’s bodies are definitely still changing and growing at this age, they’ve usually developed enough so that holding an instrument, creating an appropriate embouchure, and learning proper playing techniques are much easier.

Ages 10+

• Great age to begin with deeper musical understanding. One is never too old to start an instrument or deepen one’s understanding! Although I had piano lessons starting very young, I didn’t take my first clarinet lesson until I got to high school. I’d played the instrument all throughout middle school, but had never taken a lesson. Starting lessons at that age allowed me to grow far more proficient in technique and skill—I’d always recommend taking private lessons if able!

• Often more self-directed, leading to faster progress. Much of the work older students do comes from their own practice. Private lessons allow students to dig more deeply into solo repertoire and explore aspects of their instrument that might not be available during ensemble classes.

Matching Instrument to Age

Based on these guidelines, here is a snapshot view of potential instrument starting ages. Once again, your student’s own interest and readiness are the most important piece in selecting an instrument!

• Piano: Versatile starter for nearly all ages.

• Violin: Potentially appropriate for age 3.5 and up with smaller sized instruments

• Winds and Guitar: Best at age 7+ due to finger strength

• Voice: Formal lessons around age 8+, but early musical games are helpful. Due to vocal changes during puberty, formal lessons usually wait until the voice has developed more. However, the vast majority of general music I taught from preschool onwards included singing.

If you’re curious about starting your child out with an instrument, one of the best things you can do is schedule a trial lesson or consultation with a private music teacher. Here at Vibe Music Academy, we always offer free first lessons. These usually include a consultation regarding what your child is interested in learning, any previous skills or knowledge, and what your child would like to get out of lessons. Having a trial lesson can help establish your child’s readiness and the appropriateness of an instrument for your student. Remember, t’s never too early to explore—and never too late to start! Thanks for reading!

~ Charissa Garrigus, Instructor at Vibe Music Academy

Why Recitals Matter (And How to Help Your Student Prepare)

I remember my mom telling me after my third college audition that even though she knew how terribly anxious I was, she thought that she might be even more nervous for me than I was. I didn’t believe her at first (I mean, I was clammy, shaking, red-faced…all the hallmarks of intense performance anxiety) . But, as time goes on and I have stepped into mentoring, teaching roles at times I do think she may have been right. As supporters, guardians, parents, loved ones of musicians, it is difficult to see a young person struggle to overcome extreme nerves. So, why do we make ourselves do this? Because, recitals aren’t just about performance; they’re about growth, confidence, and celebration. Read on to learn about why these events are so essential and how to help your student succeed.

Why Recitals Matter

1. Build Confidence

• Performing in front of others teaches resilience and self-assurance. I am a very laid back person. My partner once referred to me as the “queen of the introverts” which I must admit isn’t entirely inaccurate. So, why on earth did I choose to be a professional musician? It’s because of recitals and performances. I found myself so much more confident in myself after playing in a recital—even though concerts were really hard for me (I also am an extremely anxious person), doing them anyway built a sense of pride and accomplishment in me that I wasn’t finding anywhere else. I’ve seen my students who are unable to give speeches or class presentations shine in band concerts where even other teachers didn’t think they would be able to succeed due to their nerves. The smile on a young musician’s face after a recital makes the stress worth it and teaches them that they can in fact do things that are difficult. Confidence is just as much a reward as demonstrating musical success.

2. Set Clear Goals

• Having a performance date gives students a static goalpost to work towards. I know for myself that if I don’t have a performance on the books I find it hard to motivate myself to practice. I’m much more goal-oriented then self-starting, which is the case for many musicians. This is the reason lots of runners sign up for 5ks or readers join book clubs—deadlines are so helpful in getting ourselves to put in the daily work in order to accomplish a task. Though there is certainly value in learning for the sake of learning, building up towards a performance goal can help push a student to give their best effort. It’s much easier to get lazy when one knows there’s no chance of anyone besides an instructor knowing about it. Demonstrating skills in front of an audience is an excellent motivator for a good work ethic!

3. Celebrate Progress

• Recitals let students and families see how far they’ve come, not just the mistakes. My grandparents who came to pretty much all of my recitals would always comment on how much progress I made year to year. When it finally came to my senior recital from college, I remember them talking about how far I’d come from my first performances at 5 years old. It’s always important to celebrate the strides one is making and recitals provide excellent milestones by which to measure progress. Watching them back can be a fun experience that helps young musicians see their growth along with capturing memories.

4. Share Music With Others

• Music is meant to be shared — it connects people, inspires, and builds community. This has always been something that has drawn me to music. I was a very shy kid who had a hard time talking to people. Music was where I felt I could express myself, and I remember feeling so much joy when people would come up to me after a performance and mention the connection they had with the music. This was such a central piece in why I chose to continue performing, and it’s a special part of recitals. Sure, the music may be selected by a teacher. But, music brings people together in unique ways. It builds a community that comes together to celebrate success.

5. Learn From Peers

• Watching others perform opens students’ eyes to new music, techniques, and possibilities. Returning to my own experience, listening to the older students perform was always a huge motivator for me. When I became one of the older students, I felt pride at demonstrating what could be accomplished. Peers are a large part of a student’s success, and performing at recitals allows a showcasing of talents and progress that are really valuable in a young musician’s development.

How to Help Your Student Prepare

1. Encourage Regular, Focused Practice

• Help your child break their piece into small sections, practice slowly, and repeat intentionally. There are several posts on this blog regarding proper practice techniques so I won’t spend too much time here. Suffice it to say that being involved in your student’s practice helps build a feeling of teamwork. Knowing that they have a solid support system who values and cares about their music is so important to a young musician. Invest in your student’s success by helping them utilize good practice techniques that will help them have the most successful performance they can.

2. Create “Mini Performances” at Home

• Have your student play for family, friends, or even stuffed animals to practice nerves. My parents had me do this all the time as a kid. Every time we hosted a birthday dinner or other event, I’d get asked to show what I was working on in lessons. I absolutely hated it, and also loved it at the same time. Whether or not I did an amazing job, my grandparents would applaud and be so proud of me. It also helped to practice the feeling of nerves, so they weren’t as much of a surprise when it was time for recitals. It’s also super helpful to work on playing a piece all the way through without stopping and being aware of how it feels to be watched and listened to while playing.

3. Normalize Mistakes

• Remind them it’s okay to make errors — the goal is expression, not perfection. A 100% perfect performance is very rare. I’ve attended professional orchestra concerts and noticed wrong notes. One of my undergraduate piano professors told me that any performance is only going to be about 70% as good as your best practice session. This was meant to encourage excellent practice, and it worked. In any event, part of the reality of live performance is that mistakes will happen. The goal is to prepare extensively to minimize mistakes, and not panic if and when they happen onstage. This is not to say that we should encourage lazy practice or sloppy playing—it means that focusing on recovery, and the parts of the performance that went well will help a student to avoid fixation and perfectionism. A few missed notes are almost a guarantee, and that’s ok. What matters is the effort, progress, and success of performing an instrument in front of others!

4. Support Positive Mindset

• Praise effort, not just results; help them visualize a successful performance. Self talk is a big deal. Even as a professional pianist, I sometimes get in my head during a concert. This can be dangerous as I lose focus on what I’m doing and am more prone to anxiety and mistakes. Focusing on the positive, and trying as hard as possible to be in the moment are so important. Encourage your student to remind themselves how great they will feel afterwards, and how much fun it is to show off their hard work to family and friends. Make sure you focus your encouragement on effort, and not a perfect performance. Being brave enough to perform is a huge deal in and of itself, whether there are a few wrong notes or not!

5. Prepare the Logistics Early

• Make sure they know what to bring (music, instrument, water), what to wear, and when to arrive. I’ve written a post before about how to prepare for a performance. Running through all the materials needed, setting out an outfit the night before, visiting the venue if allowed—these things will all helped to calm nerves and help reduce the uncertainty that a performance can bring. The more preparation that can be done beforehand, the better!

Conclusion

Recitals may feel intimidating, but they offer irreplaceable life lessons. With encouragement and preparation, students walk away proud — ready for their next musical milestone. Thank you for reading and best of luck at you or your student’s next performance!

~ Charissa Garrigus, Instructor at Vibe Music Academy

Practice. Plateau. Power Through.

What to Do When You Hit a Plateau in Your Playing

Every musician hits a plateau—when you’re practicing but not seeing much progress. It’s frustrating, but it’s also completely normal. In fact, it usually means you’re close to a breakthrough. Here are a few ways to get unstuck and keep moving forward.

1. Set Smaller Goals

It’s so easy as musicians to become over-ambitious! We feel the need to cram as much learning as we can into a short timespan and it’s easy to become frustrated when learning takes more time than anticipated. Instead of focusing on big outcomes (like mastering a whole piece), zoom in. Work on just a few measures, improve one tricky transition, or bump your scale speed by a few BPM. Small wins lead to big progress. I like to break larger pieces into sections either by page, rehearsal letter, or measure number. This can also help keep you from getting overwhelmed when starting something big! Keep track of those sections in a notebook or practice app, and it will help your practice to become more structured and progress more visible.

2. Change Your Routine

If your practice feels stale, switch things up. It’s easy to go through the motions especially in something as necessarily repetitive as practicing an instrument. Though this can be helpful cognitively, it can also be detrimental. A new approach can refresh your focus! Here are some small ways to change up your practice sessions if you feel like you’ve fallen into a rut.

• Try a new warm-up. Maybe this is a new scale, a short etude, or even something fun that’s completely not what your normally do: a lick from a pop song, or a silly party-trick to show your friends.

• Practice at a different time of day. Sometimes the brain just needs to be surprised by different lighting or background sounds in order to wake itself back up!

• Use a metronome or backing track. Like I mentioned in my last post, using backup tracks or other digital methods can help switch up the mindset especially if you are used to playing in a group or ensemble.

• Record and listen to yourself. This can feel somewhat daunting, but it’s a very helpful way to hear things in your playing that you may have missed initially. It’s also a great way to practice for performance!

3. Adjust Your Mindset

Progress isn’t always visible day to day. Don’t confuse a lack of obvious improvement with failure. Keep showing up—that consistency is powerful growth in itself. As long as you sat down at the piano, or picked up your horn, you’ve made progress. Keeping track of where you’ve come from is super helpful here. Have a practice goal relating to time such as practice an hour a day. That way, instead of feeling like you’ve failed if you don’t perfectly polish the spot you’d intended, you’re still making strides towards your goal by taking the time to practice.

4. Learn Something New

Step outside your comfort zone. It’s easier to get burned out if you are doing the exact same thing every day. If you need a little break, try something you don’t ordinarily do to get some spring back in your step. In addition, exploring something new can re-energize your practice and teach you skills that transfer back to the repertoire you’re working on.

• Pull out an old piece. What’s a piece you really loved that you haven’t played in awhile? Try it out and remind yourself how much fun it was to play!

• Learn a song by ear. This is great aural training, but it can also challenge the musical brain in ways normal practicing does not. Plus, it’s a good excuse to listen to your favorite song a whole bunch!

• Try a pop song or soundtrack piece for “fun music” at the end of a session. I had piano teachers that would let me play what they called “fun music” when I needed a break from repertoire. Get a book with songs by your favorite singer, a musical that you really love, or a soundtrack you enjoy. Choose one and spend time learning it at the end of each practice session—now you’ve got something to look forward to if you’re in a practice rut!

5. Ask for Feedback

Sometimes a fresh set of ears makes all the difference. Ask a friend to listen, show a recording to someone you live with. You might discover small changes that unlock big progress! This can also help with practicing for performances. Reach out to other musician friends to get their advice on beating a progress plateau—changes are they’ll have some great suggestions as they’ve also been there too!

Bonus Tip: Take a Break

Sometimes rest is the most productive thing you can do. Step back for a day or two—you might return with a clearer head and new motivation. Burn out is a real problem for lots of people, no matter how young or old. Make sure you’re taking care of yourself and know when you need a little rest!

Practice plateaus are a normal part of the learning process. If you feel like you’re stuck don’t worry—it definitely won’t be forever. You’ve got this! Thanks for reading and happy practicing!

~ Charissa Garrigus, Instructor at Vibe Music Academy

From Playback to Performance: Using Recordings to Elevate Music Education

How to Use Recordings to Enhance Music Education

Incorporating recordings into music education can transform the learning experience for students of all levels. Whether teaching in-person or online, recorded music provides an invaluable tool for improving listening skills, technique, and musicality. Here’s how educators and students can use recordings effectively as both practice tools and teaching aids.

1. Active Listening Exercises

Encourage students to engage with recordings through focused listening. As a primarily auditory learner myself, I benefit so much from listening to a piece while I’m learning it. This is not to say that one should simply have a student copy a recording—it can just be immensely helpful to organize a melody or pattern aurally and recordings are perfect for that. Furthermore, active listening is an essential skill for musicians, especially if one is playing in a group. To encourage active listening, recordings can be utilized both during and outside of lessons. Students can be instructed to:

• Identify different instruments and timbres. Which instrument has the melody? If it is a solo instrument performance, how is the musician changing their sound to create musical interest and timbral change? How could these changes be incorporated into the student’s own repertoire?

• Analyze structure and form. How is the piece organized? Are there methods in which understanding the organizational structure can help with interpretation? This skill is very important for any students wanting to go into music as a profession!

• Compare different interpretations of the same piece. Especially for more advanced students, having musical opinions is very important. Which interpretations does the student prefer and why? Are there things that can be taken from different recordings to create a new understanding of the piece? Help the student articulate using musical language why they do or do not enjoy particular interpretive choices. This is a fantastic opening for discussion!

• Transcribe melodies, rhythms, or harmonies by ear. Transcription is another skill that advanced students will benefit from especially if they plan to study music in college. Having a solid dictational foundation can really set a student apart in auditions and interviews. Beyond that, some students are very skilled in playing by ear. Encouraging them to write down what they hear builds musical literacy by allowing the student to make associations to what they hear and read in notated form.

2. Play-Along Practice

Using recordings as a practice aid helps students improve their timing and ensemble skills. This technique must be used with care as it can become a bit of a crutch. However, if used correctly, it can be extremely beneficial. When I am preparing a larger piece, I do try to play along with recordings at times to see how I fit into an ensemble, especially if I have limited rehearsal time. Try these techniques:

• Practicing with accompaniment tracks to simulate playing in a group. Playing along with an accompaniment track can be helpful when rehearsal time is limited, or if a live accompanist will not be present at a performance. It’s very helpful to understand where one fits into the musical landscape of a piece and to hear how one’s part interacts with the rest of the musicians. Playing with a track can help a musician situate themselves within the piece. It’s also great practice for listening to another part—if you just practice your part and then try to add it into a larger group, you can run into unexpected stumbling blocks!

• Playing along with professional recordings to match articulation and dynamics. This should not be an everyday tool nor should it become the only way one rehearses a piece. This can lead to robotic playing or simple mimicry. However, it can be helpful for trying out different touch, textures, articulations, and so what. Playing in ways one normally does not can help encourage musical variety and offer different styles and techniques outside of one's comfort zone.

3. Studying Performance Styles

Expose students to different recordings of the same piece to highlight stylistic variations. Encouraging a student to locate particular performances they enjoy can open discussions about lots of musical areas. Have a student locate several different performances of a piece, and spend some time analyzing the differences. What is it about a particular performance that the student likes or dislikes? How might those techniques be applied to the music being learned in lessons? Consider discussing the following:

• Differences in phrasing, tempo, and interpretation. What is written in the music and how does the performer choose to apply it? Is there a wrong way to play a piece? If you were (or are) performing this piece, what would you do differently or the same? Why make those choices? Use the score as evidence and to promote analytical thinking.

• How historical recordings compare to modern performances. Is modern recording accurate when performing historical pieces? This is a whole topic in musicology of course, but it can lead to some interesting conversations and interpretive options for advanced students.

• The unique characteristics of various genres and cultures. How does the playing of your student’s instrument change when performed by in a different genre? Compare classical, jazz, and folk versions of violin playing, piano, and any other instruments. What do those musicians do differently? Encourage your students to listen to music they might not normally choose—what to they like or dislike about it and why?

4. Self-Recording for Feedback

Motivate your students to record their own playing to track progress and refine technique. Though this can be difficult to do, it’s so helpful for self assessment. I avoided recording my practicing for a long time as I didn’t want to listen to my own mistakes. However, I’ve learned that it can be extremely useful. Benefits of self-recording include:

• Identifying mistakes that might not be noticed while playing. When practicing, there are so many things to think about. One might be focusing on rhythm and miss a note, or considering phrasing and skip an important dynamic change. Recordings are helpful tools that point out these issues so that they can be addressed quickly and efficiently.

• Comparing recordings over time to measure improvement. Sometimes it’s tricky to evaluate one’s own playing and notice the progress that’s being made. Recordings of progress are very helpful in this way as they can easily provide demonstrations of success as well as showing improvement.

• Building confidence before recitals or performances. Recordings can serve as a performance simulation. This helps to practice confidence and recovery if mistakes are made. Making a “one take” recording is just about as close to performing as one can get in a solo practice session! I find this very helpful at the end of my practice sessions when I’m doing a run-through of a full piece and would recommend it especially as performances get closer.

Final Thoughts

Using recordings in music education enhances ear training, technique, and appreciation. Whether analyzing, playing along, or self-recording, students can deepen their musical understanding in ways that traditional methods alone may not achieve. Thanks for reading, and happy practicing!

~Charissa Garrigus, Instructor at Vibe Music Academy

How to Choose the Right Musical Instrument for Your Child

As I have written in numerous posts, learning an instrument can have a host of benefits for a child. Social, emotional, and academic growth are common results of studying music. Once you have decided that your student will be learning music, though, how do you choose which instrument they should play? Many factors including personality, physical ability, and interest play a part in this selection. Read on!

 1. Consider Your Child’s Interests and Personality.

Does your child prefer soft or loud sounds? Are they drawn to rhythm, melody, or harmony?  Their favorite music styles may indicate a preference for certain instruments.  When listening to music, what songs spark joy in your student? Does she have a preference for instruments that fit in a band or an orchestra? Is he always imitating the drums? Selecting an instrument that fits your student’s desires can really help motivate them to practice and continue to work on improvement. Just because you have Aunt Debbie’s old clarinet in the closet or because the Smith family always plays brass instruments doesn’t necessarily mean those are the correct choices for your budding musician. Take your student’s interests into account when choosing their instrumental path!

2. Assess Physical Factors

• Size & Age: Pretty much all instruments can be played by anyone regardless of size, age, physical ability, etc. However, some may be more difficult than others if your student is particularly young or small. Some instruments (such as the tuba or bassoon) require larger hands or strong breath support. What instrument will be the most comfortable for your student’s physical makeup? Is there any pain when trying the instrument out?  

• Dexterity & Coordination: Does your student have especially nimble fingers that could be well suited to the piano? How about an innate sense of rhythmic coordination that could be excellent in a drummer? These things once again can pretty much always be taught regardless of existing skills. However, some students might be innately more successful with different instruments. I was much more successful trying out the clarinet than I was the trombone due to my body composition and lip shape. Instrument try-outs are a must!

• Braces & Dental Considerations: Brass and woodwind instruments may be affected by orthodontics.  If your student is due to have severe dental work done, a string instrument or percussion might be a better choice. Many students do have braces at some points during their high school career—I did, and was able to play my clarinet just fine. However, this is something to think about as it can be a bit of an issue for some players.

3. Think About Practicality

• Cost of the Instrument & Lessons: Some instruments are more expensive to purchase or rent, while others are pricey to maintain. What fits in your family budget? If you do have a quality instrument that just needs some repair, how much will that cost? Does the school provide instruments, or is there a local business that can allow for leasing/rentals? Many music stores offer very reasonable rates on instruments that either include repairs or offer substantial discounts. Connect with local music educators and see what you can find!

• Portability: Consider how easy it is to transport. If your student is taking an instrument on a school bus, the harp might not be the best choice. Where will the instrument be kept at home? Pianos are wonderful, but a keyboard might be more practical if it will need to be moved regularly. If your student does choose a large instrument, consider seeking out a teacher who travels to students so that the instrument doesn’t have to be moved as often and risk damage.  

• Noise Level: Is it suitable for home practice? Throughout my time as a music educator, I have had multiple students come to me with the excuse that they couldn’t practice at home because they were “too loud.” Are you prepared to listen to a beginning trumpet player? Of course, your student will sound better as time goes on and no one needs to play at the loudest possible level all the time. However, it seriously inhibits a young musician’s growth should she not be able to practice due to “noise.” Think about a practice mute/pad, a designated practice space, and your own sanity before choosing an instrument that could be detrimental to this.

4. Try Before You Commit 

• Rent or borrow an instrument before purchasing.  It is absolutely essential to try out an instrument before purchasing one! I have had many students who think they want to play one instrument only to discover that they are far more excited about a different on once they try it out. Instruments can sound and feel completely different when actually being played, and some students have more success with different instruments than others. Never purchase an instrument online without trying it out or having a trusted advisor vet it for you—local music stores will often be able to secure instruments that are affordable and quality. Amazon and ebay are not the way to go!

• Attend instrument demonstrations or beginner classes. When I was directing a beginning band, I always hosted an instrument try-out day so that my students could experiment and see what they were best suited to. As an early college student, I decided to upgrade my clarinet and went to a local music store with my teacher to try out instruments. This is so important for a student who will be pursing music—there is no way to know if the instrument is the right choice until it has been played. Below are some Indianapolis music stores to consult you are searching for somewhere to try out instruments.

  • Musicians’ Repair and Sales: Located downtown Indianapolis. Offers brass, woodwind, and string instruments. https://www.musiciansrepair.com/?srsltid=AfmBOopnqewG2yfCoD3cfnVrDvN0fXK7IXrCgfkCz1rxpqZ1QUkI2Drf

  • Arthur’s Music Store: Located in Fountain Square. Offers mostly guitars and string instruments. https://www.arthursmusic.com/

  • Paige’s Music: Located in Fishers. Offers brass, woodwind, and string instruments. https://www.paigesmusic.com/paiges/run?id=6

  • Guitarworks: Located in Greenwood. Offers primarily guitars. https://www.guitarworksin.com/

  • Piano Solutions. Located in Carmel. Offers pianos new and used, and guitars/ukuleles. https://www.pianosolutions.net/

Choosing the right instrument makes learning music more enjoyable. Encouraging exploration and having patience are extremely important as part of this decision-making process. The best instrument is the one that keeps your student engaged and excited to play! Best of luck and happy hunting!

—Charissa Garrigus, Instructor at Vibe Music Academy