Some ideas when trying to help your piano students at home...

Be generous with encouraging remarks, even though a good effort may not have produced successful results.  Treat praise with caution, avoid verbalizing irritation, and reward your child with your love and appreciation.

As you advance in the repertoire, spend more and more time reviewing and improving the pieces learned.

Once or twice a week, have the student give a home concert for the parent who does not usually supervise the practice sessions.  Include bowing and applause.

Sense when a practice session is over.  It is more important to return to the instrument with joy and enthusiasm tomorrow than to force a few extra minutes today. 


I also recently saw this link circulating on Facebook among my piano teacher colleagues and found some great ideas within...Here are some questions to ask your student at home during practice sessions in order to get those "piano brains" percolating!!  

Children are so capable...I'm often taken aback when asked how or sometimes even "why" I enjoy working with young beginners at the piano.  Little ones have so much potential, and what is even more awesome?  Children LOVE music...every child loves music...So I get to be the super cool music teacher who gets to "light their fire" for piano...So to those who ask why?  I must reply, "WHY NOT??"    Here are some really insightful ideas regarding early childhood music instruction...These are taken from a 1974 work about Suzuki.  I am not a Suzuki teacher, but I love his philosophy regarding the role music should play in the young child's life.

TEN REASONS FOR BEGINNING MUSIC EARLY
As a sense organ the ear is fully developed at birth.  The brain is prepared to organize the impression it is given.  Why wait longer?  By the time an infant is one month old, he or she has received a full month of education, planned or accidental.  To plan it is to grant the full measure of love and concern for the future of the child.  To ignore it is to waste the child’s potential in random development.

A child’s powers of observation and ability to imitate are tremendous by the age of two, although he has limited judgement about what to imitate.  He will repeat whatever he hears.

If the child hears music instead of random sounds, his profound love of music becomes intuitive and provides the best foundation for rational responses later in life.

Challenges, such as the differentiated tasks for each hand, are coordinated with the ear.  They help to develop neurological control patterns.

When the child is very young, he is more likely to accept a learning relationship with his parent than when he is older and seeking autonomy.  This relationship if begun early, becomes a source of pleasure and an aid to the growth of all who are involved with it.

Suzuki method provides healthy social relationships. Shared playing skills among children provide an early team experience without competition.

As pupils of all ages play together, with music tends to bridge generation gaps, developing enduring friendships and affection.

Children are less self-conscious in the early years and like to share their enthusiasms with friends in and out of school.  They develop healthy self-images as their friends respond to their ability to play fine music.

Before they are eight, children have more time for music than they will later.  If they have reached a level of self-confidence by the time they are eight, they are less likely to become drop-outs in their later musical studies.

Young children love to play.  Music is essentially a feeling outlet in early childhood,  as it should be in adult life.  The study of music after the age of seven is apt to become more intellectual and mechanical.  Moreover, children often become self-conscious at older ages and are easily frustrated when the teacher tried to help them move skillfully.  These movements are best taught in the formative years. 

(Mills, 1974, p. 5-6)