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How To Become A Wealthy Piano Teacher
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Ask the average piano teacher how to become a wealthy piano teacher and you`ll probably hear "you can`t" for an answer. The general consensus is that teaching piano is a labor of love that happens to also pay the bills, but not much more. But that`s not true. I know how to become a wealthy piano teacher. And you can discover how to become a wealthy piano teacher too. The answers are right here in this article.
If Alicia Keys, or Billy Joel, or an old player like Stevie Wonder can learn how to become wealthy piano players
You see, most piano teachers don`t think of themselves as entrepreneurs. They don`t understand that they are actually in two businesses. Sure, they are in the business of teaching every budding Ludwig van Beethoven how to tickle the ivory and how to tell a treble clef from a bass clef, but they are also in the business of being in business.
That means that besides cracking open the music books, they also have to crack open the accounting books. They have to make time to separate the black and white keys from the black and white numbers. They have to learn how to run a profitable business LIKE it was a business and not a hob
If you want to learn how to become a wealthy piano teacher, you have to learn how to run a successful business. This means that you need to run a profit and loss statement, identify your overhead, analyze your rates, and determine what you need to do to raise your standard of living without working yourself into an early grave.
Does that sound impossible? It isn`t. In fact, the only thing I`m asking you to do is what every other successful business person in the world does every day -- run your business at a profit. Want to know how to become a wealthy piano teacher? Make believe you`re a lawyer, or a doctor, or a plumber instead. No, I`m serious. Here`s what I mean
No matter what business you are in, even teaching piano, you`re selling something. Shopkeepers sell merchandise, lawyers, doctors, plumbers and, yes, piano teachers sell their skills. And they sell it
One of the keys to earning top dollar for your classical, concert and jazz piano skills is to raise your visibility in the market and make yourself appear to be more exclusive than your competitors. People with money in their pockets are willing to pay for exclusivity and the benefits that come with learning from the best of the best.
That`s only one trick you need to learn in order to discover how to become a wealthy piano teacher. There are more.
Reviews: Classical - AKIKO YAMAMOTO/ QUATUOR EBENE` GOULD PIANO TRIOIndependent, The (London) , Jul 13, 2006 by Michael Church
Some composers` fame goes out like a light when they shuffle off their mortal coil. Others` fame just goes on growing: such has been the case with Toru Takemitsu since his death in 1996.
His quintessentially Japanese musical aesthetic, where silence is as important as sound, and where the progress of a piece is like a walk through a landscaped garden, is still winning converts among Western composers. For the festival to programme the classic films he scored was a smart gambit, since cinema was where his musical philosophy evolved.
The ruminative Takemitsu piano piece played by his compatriot Akiko Yamamoto at Mansion House was very short but it lingered in the mind long after the last note had died away. Takemitsu was a lifelong Francophile, and Rain Tree Sketch 2 was his homage to the French composer he most admired, Olivier Messiaen. One could hear Messiaen-style tone-clusters throughout, but Takemitsu had woven them into his own limpid sound-world: Yamamoto`s subtle playing allowed us to savour the way each cluster was stretched and opened out. The Debussy Estampes, with which she`d begun, reflected a different East-West debt, as the sound of the Javanese gamelan was put through Debussy`s whole-tone blender: here, her touch was muscular and precise.
Then she was joined by four lads from France - the Quatuor Ebene - for a performance of a Mozart rarity: the Piano Concerto in A major, K414, in Mozart`s own arrangement for piano and string quartet.
This was a revelation, in that one forgot all thoughts of orchestras in the pleasure of seeing the music`s pure lines emerge, and finding piano and strings in perfect dynamic balance. The slow movement ventured boldly into dark harmonic realms, the finale scampered out into the sunlight.
This talented group wound up their concert with a brilliant performance of Brahms` Piano Quintet in F minor, with the piano acting as a firm anchor, while the strings sang their hearts out. Come back soon.
This festival wisely capitalises on the City`s hidden architectural gems: I had never been inside St Lawrence Jewry, and to sit in that exquisite 18th-century church was an experience in itself - if acoustically a problematic one.
Copyright 2006 Independent Newspapers UK Limited
Provided by ProQuest Information and Learning Company. All rights Reserved.
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