Before beginning your search or making that first phone call (Refer to the Flute Student Defining Quiz below for assistance with these issues):

1. Define your goals (get a higher chair; win competitions; audition prep; sheer enjoyment; to do your part toward world peace; etc.)
2. Determine your commitment level for practicing.
3. Be realistic about “time” allotment for daily/weekly practice
4. Ascertain your current playing level (advanced, intermediate, upper beginner, etc.)
5. Gather your music (for the past year or so) and have it on hand
6. Make the call yourself if you are age 15 and up. Your parents may handle the business end, but you need to navigate and field the music related inquires

“My Personal Flute Profile” questionnaire
Answer each question with honesty and sincerity.

1. I want to take flute lessons (or change teachers) because:

a. I will get extra credit in band
b. My parents are “making me”
c. I want to attain higher levels of playing and learn how to practice more efficiently
d. I would like to explore becoming a music major
e. I want to win competitions, auditions and awards
f. I want to re-enter the playing field after taking ___ years off from my flute

2. I am:

a. Deeply committed to practicing what I do not know or cannot do well, yet
b. Somewhat committed to practicing what I do not know or cannot do well, yet
c. I can see myself playing frequently, especially those pieces and bits that I already know and do well.
d. I’m not sure how committed I will be, but the first few months of lessons will help to reveal my devotion

3. I look forward to practicing:

a. As much as possible, each day
b. Almost every day
c. A little bit each day
d. Very little—I am committed to other interests first (homework, sports, dancing, other instruments, reading, etc,)

4. Personal Information:

a. I have been playing the flute for _____ years or months
b. I am currently working on _________( books and pieces)
c. My age is _______
d. I have taken (or not taken) flute lessons before
e. I categorize myself at the

i. Beginner level
ii. Intermediate beginner level’
iii. Upper beginner level
iv. Intermediate level
v. Upper intermediate level
vi. Advanced level (upper high school)
vii. Pre-professional level (college flute major)
viii. Professional level (member of a professional symphony)

5. This past year I have been working in the following books and on the following pieces:
a. _____________________________

6. Sample call: Hello, my name is ___________ and I am interested in finding out more about studying flute in your studio. I have prepared a personal “Flute Profile”, but I would like to find out more about you, your teaching style, your philosophy and policies. Perhaps you have a website?. . . . . . If this is a good time, I have some questions I would like to ask you. (If not, make an appointment to call back)
a. What levels do you teach? And what level are the majority of your students?
b. How long have you been teaching?
c. What are your credentials (where did you study)?
d. What is your suggested length of a lesson for a student at the __________level (see #4e above)?
e. Where is your studio (studios)?
f. Do you have any current openings?
g. Do you have a tuition and /or policy sheet you could send as an e-mail or to my home address?
h. Do you or your students have any upcoming performances that I could attend?
i. Do you offer introductory lessons?
j. May I send you an e-mail if I have any other questions?
k. Are there any questions you would like to ask me? (refer to your own “profile” you made from the above list.

(from: YES! I want to practice even though my favorite show is on TV, to: YES! I want to practice instead of doing chores, to: I would love to practice but my homework and sports are my highest priorities)

• Based on Trevor Wye’s introduction in his Practice Books for the Flute, if you apply yourself to consistent practicing using the axiom: TIME, PATIENCE, and INTELLIGENT WORK, you will make steady progress.

• When a diligent student is following the Wye tenet but continues to make similar errors each week (notes, rhythm, articulation, etc.), the teacher has not presented the material in an appropriate manner. Teachers must discover the student’s learning styles and adjust to them.

• Assignments should be specific and concise with expected outcomes clearly expressed, conveying the necessary practice methods to achieve these goals.

• Materials used in lessons should present the clearest, most direct route to the desired goals (e.g. printed music, recordings, electronics {tuners, metronomes, internet}, live performances and demonstrations, etc.).

• Corrections should be presented in positive forms, indicating correct aspects of the “performance” first, then stating clearly, one issue at a time, how the student can make specific improvements.

• Teachers should establish immediate goals, short and long range goals, and thoroughly and frequently discuss and adjust these with the student.

• Regular, serious practice is encouraged. How, what, when, and how long to practice should be discussed frequently with the student and if under 14, with the parents.

• Families need instruction on how to make their home “user friendly” for the practicing flutist:

1. Dedicate a room or space in a room for a music stand, a music bag, metronome, tuner, and flute stand (permanently if possible)
2. Have siblings doing chores, homework, or practicing their instruments while the flutist is practicing. If families are watching TV/movies or participating in “fun” activities without the flutist, practicing starts to resemble a punishment.
3. Do not interrupt or (unnecessarily) reprimand or criticize the flutist in mid-practice. Rhythmic, pitch, articulation, and/or breathing errors may need some coaching from educated family members, but do this only when asked or if the errors are becoming habitual and “baked in.” Interfering too soon may inhibit progress and musical independence.
4. Promote extra practice and offer frequent encouragement to the budding flutist
5. Create positive performing experiences (e.g. please play your newest piece for us tonight after supper, or let’s go play this for our neighbor, or grandma is coming this weekend-what would you like to play for her?)

• The teacher must create performance opportunities, both formal (recitals, concerts, flute ensembles, auditions, etc.) and informal (play for the next student, the attending parent, the friend or cousin who came to the lesson, a colleague, etc.)

• The teacher must play for and with the student (all levels), including duets, demonstrations, examples of future repertoire, unison work on difficult passages, etc. Imitation speeds up the learning curve. Caution: too much unison work may stifle independent reading—especially in the rhythmic realm.

• NEVER touch a student until given permission by the student and a parent and only in the most benign fashion to instruct in breathing, posture, hand position, etc. Even hugs are dangerous unless permission is granted and there is an adult present. Teach in an easily accessed space and have an uncovered window or open door, encouraging others to “look in” unannounced. Run a video or give “audience only” lessons if you are in a closed room studio.

• Teachers need regular refueling through attending professional master classes, recitals, concerts, workshops, conventions, and even social outings with other studio teachers.

• Students will reflect the attitude of the teacher. I recommend and personally offer an enthusiastic, high energy studio.

• Teachers are obligated to create an enjoyable, positive learning environment. They will encourage, support, give relevant feedback, and customize a curriculum specific to each student’s needs. Students are responsible for their own practicing and daily motivation to practice. For teachers to lead effectively, students must do the assigned work.

There may be an exceptional individual who actually lives this fantasy, but I prefer to set the record straight with a full disclosure of my own daily activities. My 25 weekly teaching hours are a blessing. I adore teaching and every student I work with is my favorite one, ever. I chose this career and truly believe that it is my vocation. That being said, there are still occasional challenges, heartaches, and difficulties to explore and overcome (e.g. illness—teacher or student; scheduling around students’ sports, school, social, and family activities; tuition collection; etc.). But, overall, it is a dream profession and I am blessed with a successful, thriving studio.

Wendy’s day job:

Preparing for the day’s lessons begins the night before when I lay in bed and review all the students who will be coming the next day, what they are working on, their goals, expectations, and future assignments. I repeat this process every morning before rising. I visualize in as much detail as possible to keep my mind sharp and on task. This ensures a good flow and best practices in time management for each lesson. It also allows me to plan repertoire well in advance of seeing the student, saving time and energy for more teaching during the lesson.

Once up, I typically go to my computer and begin the arduous task of sorting through the 50 – 60 emails I receive daily. After deleting the spam, I answer the “lesson” correspondence, then move on to my volunteer areas. I serve several organizations in numerous capacities. Currently I am the newsletter editor and membership chairman of the Pittsburgh Flute Club (and immediate past president), I am on the faculty at a local college (West Liberty State College), and I am the Director of the Flute Academy (http://www.fluteacademy.com) with an enrollment of more than 60 students and a faculty of 4. This is in addition to my studio teaching. Email takes an average of 2.5 hours per day, 7 days per week.

Once the email is under control I move on to studio related activities:

• Invoicing
• Creating monthly (12) studio newsletters
• Writing letters of recommendation (approximately 3 per week, all year long)
• Returning phone calls
• Recommending instruments for purchase
• Maintaining (or creating) websites
• Hiring substitutes teachers
• Rearranging the schedule to accommodate an upcoming trip (e.g. to judge a competition, to be a guest lecturer, teach a masterclass)
• Recruiting new students
• Scheduling makeup lessons
• Flute Academy business (meetings, payroll, scheduling, planning)
• Repertoire management (for 3 flute choirs and 35 students)
• Writing articles for publication
• Creating the 12 monthly E-newsletter for the Pittsburgh Flute Club (doing all the research, writing, and design)
• Data base management (keeping track of phone numbers, addresses, email addresses, cell phone numbers for students and both parents, home addresses, schools, etc.) for my studio and the Pittsburgh Flute Club
• Marketing the Flute Academy and studio
• Meetings (PFC and Flute Academy boards and staff)
• Reading professional journals: Flute Talk, Flutist Quarterly, American Music Teacher, Music Educator’s Journal

Once the “business” details are dealt with I squeeze out a bit of time for household activities:

• Bookkeeping (bill paying, account balancing, investments, insurance, retirement plans—you’re on your own when you are self-employed, taxes, etc.)
• Property maintenance (dusting, vacuuming, bathrooms, windows, snow removal, leaf raking, house painting, furnace, air conditioning, plumbing, electrical, painting, etc.)
• Life management (grocery shopping, meal preparation, recycling, garbage collection, laundry, prescription management, medical appointments, mail, caring for elderly relatives and their needs—which are many, keeping up with new technology—cell phones, computers, etc., being a good neighbor, etc.)
• Quality time with spouse and family (this becomes precious and limited when your studio is active in the evenings and on weekends)

When I have a FREE minute I like to sew, redecorate, read, and yes, eat bon-bons. But, these are the treats at the end of a fulfilling, rewarding, exhausting day or week. My life is PERFECT! Just the way I want it, filled with rewarding students, activities, music, and career satisfaction. I have no plans to quit my “day job.”