DipLCM(TD): Delivering an Effective Demonstration Lesson

In this blog post, I want to share some thoughts about planning, rehearsing and delivering your demonstration lesson as part of the DipLCM(TD) teaching diploma. The advice given here is equally applicable at ALCM(TD) and LLCM(TD) levels, and may also apply to other qualifications which require similar.

As part of the DipLCM(TD), the London College of Music’s first-level teaching diploma, candidates are required to teach a 20-minute lesson to a pupil, live in the exam. In exceptional circumstances, candidates may ask to submit their lesson in video format; however, the advice here still applies.

Based on the current (2019) syllabus, a few points to bear in mind:

  • You must have been teaching the pupil for at least six months;
  • The pupil can be any standard from Grade 1 to Grade 8;
  • The standard of the pupil used for the demonstration lesson will form the basis for the whole exam;
  • The lesson will concentrate primarily on repertoire pieces (which can be exam pieces or otherwise);
  • You can include the teaching of pieces chosen for your presentation (Component 2) in your demonstration lesson;
  • You are expected to also cover other areas teaching, such as sight-reading, aural skills, technical exercises, theory etc.;
  • If your lesson runs over 20 minutes, the examiner will stop assessing it.

Many have argued that classroom teachers in schools have been subject to regular and routine lesson observations over a long period of time. Whilst this is true, I think there’s a subtle distinction to be made between an ‘observation’ and a ‘demonstration’. Generally, in an ‘observation’, another teacher or outside course mentor will observe one of your ‘normal’ lessons ‘in progress’. For the DipLCM(TD) demonstration lesson, you will be required to effectively deliver a one-off lesson, out of context, in front of one other person, and at an unfamiliar location. Because of that, I often say to people that the demonstration lesson is inevitably artificial, and I do think the examiners realise that.

The first thing to say is that you need to have a plan. I’m not saying you need a fully-fledged and written-up lesson plan, but you need an idea, particularly with such a tight time constraint, where your demonstration lesson is heading. I often find that candidates haven’t thought about lesson planning before, so if you’re one of those, check out the following resources (some piano-based, but they can be adapted):

3 Useful Styles of Lesson Plans for Piano Teachers (Nicola Cantan)
Lesson Plan Templates for Piano Teachers (Tim Topham)
Simultaneous Learning Practice Map (Paul Harris)

For a more conventional approach, there are also some lesson plan templates in ABRSM’s The Music Teacher’s Companion.

I particularly like Paul Harris’s Simultaneous Learning approach to lesson planning, that is, by identifying a piece’s ‘ingredients’, this helps make links between repertoire and other skills such as scales, sight-reading, theory etc.

20 minutes is not a long time, and in that time you need to give a good overview of your competence as an instrumental teacher. Remember, although this is a standalone lesson, it needs to have context, even if that context is invented. The pupil will have come from the previous lesson, via practice at home, and they’ll be going on from this lesson to practise at home once more, in preparation for the next lesson.

One of the biggest criticisms of candidates’ demonstration lesson is that it is focussed too heavily on repertoire without reference to other areas of learning. I think it’s useful to be working on a piece with which the pupil is already fairly familiar, because it seems a waste of the demonstration lesson teaching basic notes and rhythms. Assuming the piece is already in progress, which areas might the pupil be finding tricky, and how could you cover these in the demonstration lesson?

Photo of the LCM Grade 2 Piano piece, The Somersault King mentioned as an example piece in the blog post about preparing an effective DipLCM(TD) demonstration lesson

Let’s take The Somersault King on the current LCM Grade 2 Piano syllabus, List C. The piece is in C major. Could your lesson begin with revision of the C major scale, arpeggio and/or broken chord? Could you introduce the lesson with a warm-up improvisation in the key of C major in which you ask a pupil to improvise as if they were somersaulting? These things provide a link with technical work, exercises, aural awareness and interpretation. It may only take a couple of minutes, but it adds another dimension to your lesson. These things also help set your piece within a wider context of learning.

When you’re preparing for the demonstration lesson, make sure you select a pupil who is not only willing to take part (and may also have willing parents), but one who won’t freeze when required to ‘perform’ in front of the examiner. There is nothing to stop you ‘rehearsing’ the lesson in advance, and I would encourage you to do this. This component is about demonstrating your competence as a teacher in a one-off exam, not a periodic observation. You cannot show in your next observation, that which you forgot to show this time.

It’s easy for me to say, but try and relax as much as possible. The examiner is a silent observer in the demonstration lesson, so as far as possible, you should just ignore them.

Whilst the advice above can be applied alone, don’t underestimate the value of having someone to mentor you for your diploma. A mentor can empower you to reflect on your teaching; go into the exam with confidence; and come out with a qualification which validates your teaching skills. If you’d like one-to-one help and guidance for all aspects of your DipLCM(TD), or indeed any other teaching diploma, I offer a bespoke online mentoring programme which offers you support with all aspects of your chosen diploma.


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By investing in yourself…

If you put money into a savings account, chances are, you’ll get back in interest more than you started with. You might not get very much, especially at the moment, but you’ll likely end up with more money than you started with.

Different banks offer different interest rates, and occasionally different incentives to encourage you to deposit your money with them. I’m sure I’m not the only who opts for the easy option and sticks with what I have, rather than trawling the internet for better deals. But, you know as well as I do, the old adage that you get out of it what you put in.

Last year, I signed up for something in the hope it would both unpick and develop some areas of both life and business (though, as we well know, the boundaries between the two are very blurred).

I’m not going to tell you what it was, but it cost money. It cost a lot of money (by my standards). A sum not far short of four figures. I had to think very carefully about spending that amount of money, and by spending it on that, I had to allocate the money in a different way to how I might normally have liked.

Money is a constant background issue for freelancers and the self-employed. We don’t like talking about money. For all it offers, money can often be as much a hindrance as it is a help. I think that those who work in the music industry, and music teachers in particular are especially conscious of this, and by consequence, are often reluctant to spend money. There’s perhaps a whole side issue here about music teaching and business, and how teachers perceive themselves as business owners, but that’s for another day.

Continuing Professional Development (CPD) comes in many different forms, but in most cases, engaging with it costs money. In the past, I’ve been one of those teachers who was reluctant to spend money, but over the past few years I’ve made a sizeable shift in mindset when it comes to this.

You see, one of the things which we often forget is that by engaging in CPD which we have to pay for, we are making an investment. We’re making an investment not just in our business, but in ourselves. Just as when we invest money in a bank or similar, we’re investing in the hope of getting back more than we put in. Sometimes we might look for short-term gains, and other times, we might look for longer-term gains. We often adjust our investments accordingly.

So far for me, engaging in CPD hasn’t necessarily been about making more money. This may, in part be because of the ‘complicated’ relationship status I have with money anyway, but I’m not necessarily spending money in order to make more money in the future as a direct consequence of that CPD. Above all, it’s about investing in myself, and as a consequence, in my business.

Remember the thing I invested in last year, that cost a sum not far short of four figures? Well, since I did it, I’ve made back the cost of that investment almost 10 times. I never set out to do that. That outcome was purely unintentional. I say that not to show off, but to make the point that the results of our investments are not necessarily measured in monetary terms and can often manifest unexpectedly. I got far more out that thing than could ever be measured in pounds and pence.

In the online mentoring work I do with teachers working towards teaching diplomas, people are often reluctant to spend the money. In truth, as I often say, it works out at less than the price of a cup of coffee per day, but nevertheless, money is often the sticking point. We immediately see the total sum and label it as ‘expensive’.

Spending money on CPD such as that is seen in terms of parting with money rather than investing it. I think there’s a subtle difference. If I buy £5.00 worth of apples, my money has been spent on fruit. Logic says that the intention is I will eat those apples. I won’t get my £5.00 back, and after I’ve eaten them, I won’t have the apples either. I don’t think CPD works like that if we see it as an investment, but this requires a shift in mindset.

As a private music teacher, how do you look at spending money on CPD? Do you view it as a necessary evil? Do you see it as parting with your hard-earned cash? Do you see it as an investment? Do you think about the value you might gain from that investment?

Above all, I believe that it is by investing in yourself that you invest in others…and that goes beyond any kind of monetary investment. Next time you look at a CPD opportunity and rile at how expensive it is, consider its investment potential. It’s a potential investment not just in you, but in others.


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Myths of Private Teaching

Over the past 18 years, I have come across many myths surrounding the nature of private teaching as a professional occupation. Sometimes these myths are perpetuated by those outside of the profession, but I’ve come across plenty of occasions where they’ve been perpetuated from within.

I can only base this on my own experience, and on that of others I know. Everyone is different, but nevertheless, let me try and dispel some of those myths!

ONE
You only teach children…

Quite the opposite in fact. I currently teach pupils who range in age from nine to 75. 60% of my pupils are aged 18 or over.

TWO
You only teach after school…

I currently teach Mondays, Tuesdays, Thursdays and Fridays. 50% of my teaching currently takes place before schools finish. Mondays and Tuesdays I teach from 2pm to 8:30pm, Thursdays from 11:30am-7pm, and Fridays from 10:30am to 6pm.

THREE
You have day job…

No, all my income comes from freelance work, the bulk of it from teaching. Over the past 12 months, my income was roughly apportioned as follows:

  • 70% – Teaching
  • 11% – Consultancy
  • 8% – Diploma Mentoring
  • 6% – Composition
  • 4% – Other
  • 1% – Accompanying

I don’t have a spouse, partner or ‘other half’ with a day job either!

FOUR
You only teach beginners…

On the contrary, I currently have very few beginners. I currently teach a whole range of ability levels from beginners right through to those working at diploma level.

FIVE
You teach because you couldn’t be a performer…

Strangely enough, performing never much interested me. I’ve always been happy to play to other people, including in public, but I’ve never felt any urge to become a performer. Remember that saying, ‘those who can do, those who can’t, teach’? It’s not true. There are many excellent musicians out there who have dedicated their lives to being performers. Equally, there are many excellent musicians who have dedicated their lives to being teachers. We need both. Teachers are not automatically failed performers.

SIX
You teach privately because you couldn’t get any peri work…

I have been teaching for not far off 20 years, and in that time, I have never attempted to get any peripatetic teaching either directly in schools, or through music services or hubs. I have always taught privately and don’t have any desire to change that. There are many excellent peripatetic teachers, just as there are private teachers. We need both.

SEVEN
Private teaching is easy…

There is a myth that teaching one-to-one lessons is easy, and that as private teachers we somehow have a ‘cushy’ existence. One-to-one teaching is often compared to classroom teaching, the suggestion being it is much easier to teach one person than a class of 30. Personally, I don’t look on it like this: they are just different. I personally find that one-to-one teaching is pretty intense. You have to be 100% present in every lesson, 100% of the time. It’s tiring, exhausting sometimes. The hours are often anti-social. It’s very different to a lot of other occupations, but it is by no means ‘easy’.

EIGHT
One day you’re going to get a ‘proper job’…

No. Just no.

Have you come across any other myths? If so, share them in the comments below.


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Age-appropriate: why teachers should be honest about their skillset

When I started teaching, as I’m sure a lot of us did, I’d teach anyone who came my way, who was interested and who was willing to pay. My first five pupils included two adults, two primary-age children, and one of secondary age. The longer I’ve taught, the more I’ve come to realise that my skillset as a teacher is best suited to some age groups rather than others. But, it’s taken me a long time to accept that, and to get over that sense of failure at not being a great teacher for all ages.

I think that as instrumental teachers, we’re often expected to be everything to everybody. If you take my Thursdays for example, my youngest pupil is 9 and the oldest is 75. They range from beginner to post-Grade 8 levels. As teachers, we have to quickly adapt our skills to meet the needs of a whole range of individuals of differing ages and ability levels, and I’m sure that many of you would agree, that as much as this can be challenging, it’s a rewarding part of the work we do.

I’m going to be honest, I’m happy to start taking pupils from the age of around nine, with no upper age-limit. This may surprise some people, for we so often see pictures of small children learning instruments, and of course, all of our national ensembles are geared towards children starting as early as possible. As one choirmaster once said, “We like them out of the cradle singing the B minor mass”.

That’s not to say that those younger than nine shouldn’t learn an instrument. On the contrary, I started piano lessons just before my seventh birthday. Over the past 18 years that I’ve been teaching, I’ve come to realise that my skillset is best-suited to those age nine and upwards, predominantly adults and teenagers. There are many teachers around whose skillset is far better suited to younger children, and hats off to them.

With this sense that we should be everything to everybody, I think we can feel ashamed to set parameters such as the ages we teach, maybe even feel a sense of failure. It could be perceived as a weakness in our teaching ability if we exclude a certain age group. I don’t think this is the case at all, and actually, I think we should be more upfront about where our skillset best lies.

It’s not always easy though. I’ve had enquiries in the past from parents whose children are younger (often considerably so) than my lower age-limit. Explaining to them that I don’t teach children that young, but that there are plenty of teachers that do, can be challenging. There have been at least two occasions in the past when I’ve been shouted at down the telephone because the enquirer feels that it is a slight against their child that you won’t teach them.

Of course, this couldn’t be further from the truth. In fact, I’m being honest with them, knowing that there are teachers out there who will serve their child better than I ever could. The temporary inconvenience of having to enquire to another teacher is surely superseded by long-term benefits?

I’ve always believed that it’s right and fair to be honest about what I can, and can’t offer, as a teacher. I think more teachers should do this, and I suspect they would feel far more satisfied and fulfilled for having done so. If you’re teaching privately, you’re in charge of what your business offers. Maximise on the strengths, and let other teachers pick up those pupils for whom your skillset is not best-suited.


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The Critical Art of Choice

As instrumental teachers, we are overwhelmed by choice when it comes to teaching resources and materials. New books, websites and subscription sites appear on an almost daily basis. There is more available to us now, than at any time in the past.

Having access to such a wide range of resources is, essentially, a good thing.  Rather than being stuck with one book, which doesn’t suit every pupil, we can now tailor what we use to the needs of individual pupils.

There is though, a danger, that when choosing and using resources, we become uncritical. Often, we let someone else do the work for us. Once an eminent music educator or organisation recommends a resource, it is taken up by teachers with great enthusiasm and is quickly implemented in their teaching practice. In some ways, this isn’t a bad thing. There are plus-points to books and resources recommended by someone else, often someone knowledgeable in their field, who has previously researched and critiqued them. But, does this mean teachers should rely on others to do the work for them? I would argue that the more resources there are available, the more critical we need to be as teachers.

As many of you know, I mentor teachers for teaching diplomas. The DipABRSM requires a Written Submission of 1,800 words on a topic of the candidate’s choosing from the syllabus. One of the most popular topics is:

‘Discuss your choice of material for use with young beginners and/or adult beginners in the first year of learning.’

For most teachers, this means a discussion of tutor books (though of course, you are encouraged to discuss the whole range of materials you use). If we take piano for example, the market is overwhelmed by tutor books: Piano AdventuresPiano SafariGet Set! PianoPiano TimePiano WorksMe and My Piano, Piano Junior to name but a few. New piano tutor books appear on the market at an almost alarming rate. As teachers, how critical are we in our choice of tutor books we use?

When I read essays which seek to answer the question above, they invariably follow the same format. The teacher has a preferred tutor book which they use, and they unknowingly use the essay to ‘sell’ the book to their reader (the examiner). There’s nothing wrong with having a preferred tutor books, and indeed, most of us have them. But how did we arrive at our decision to use them? Unfortunately, writing in your essay that you use those books because they were recommended to you doesn’t really cut it with the examiners. Candidates, and indeed, all of us, should demonstrate a more critical approach.

As a starter, consider the following questions:

  • How does the book fit in with our wider teaching philosophy?
  • How does the book align with our curriculum and pedagogy?
  • How does the book enhance the musical learning of our pupils?
  • Why do you use this book in preference to others?
  • How does the book fit into a wider progression of musical learning?

No one book is perfect, but these are all important questions, and they require teachers to think critically about the materials they are using. The answer to all these questions cannot wholly be that we use a book because it was recommended to us.

To even pass the DipABRSM Written Submission, teachers need to submit an assignment which is:

‘Adequately argued with some evidence of structural control and flow of argument [and an] acceptable level of literacy and grammatical accuracy, and some evidence of relevant research.’

So, by all means, seek the advice, views and recommendations of others, but  above all, be critical yourself. With the ever-increasing number of resources available to us, it’s easy to jump on the bandwagon. Some of those bandwagons turn out to be good, but some turn out to be only a passing fad. Think about the books, materials and resources you use in your teaching. Can you critique what you use, and answer the questions above?


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