Monthly Musical Miscellany – May 2025
Hello folks,
Time for another hodgepodge of news, updates and other tidbits from the studio…
Half Term and Bank Holiday opening times
A very quick note to let everyone know that I’ll be doing normal teaching times all half term and this May Bank Holiday, so lessons will go ahead as normal unless you let me know otherwise.
So if you’re planning a holiday, firstly – I wouldn’t say no to a fridge magnet, and secondly – please let me know in good time so I can also organise gigs and my own breaks.
Changes to make-up credit policy
I’ve made a small change to my cancellations and make-up credit policy which comes into instantaneous effect. The complete policy is detailed below and available on our website.
Students are requested to provide 24 hours' notice of cancellation to avoid being charged the full lesson fee. Make-up credit will be offered for cancellations with less than 24 hours' notice. This credit may be used to extend a future lesson by up to 50%, subject to scheduling availability.
A maximum of one make-up credit may be held at any time. Credits must be utilized before a new credit can be accrued. Make-up credits are not transferable between terms.
To ensure efficient scheduling and resource allocation, the policy has been revised to offer make-up credit as an extension of existing lesson time, rather than a full complimentary lesson. This approach has proven to be both more practical and better received by students.
Furthermore, the make-up credit policy is now limited to one credit per term. This change is intended to encourage timely use of credits and to prevent students from accumulating multiple credits, which creates significant scheduling challenges.
Thank you for your understanding and cooperation regarding these updates. Please feel free to reach out with any questions.
Quote Unquote
Schumann referred to Chopin’s music as “cannons buried in flowers”.
Delightful.
The End of Music?
I've been thinking a LOT recently about the future of music, and the sheer velocity of change in the last two decades is dizzying. The way we consume and produce music has undergone a seismic shift, leaving me with the distinct feeling that we're transitioning into a radically different era, one where music's role increasingly resembles what Satie termed "furnishing music"—a sonic backdrop rather than a central focus.
This is particularly evident in mainstream music production, which often feels less like the crafted artistry of poetry or song and more like a form of avant-garde architectural design; meticulously constructed, flawlessly executed, yet sometimes emotionally sterile. The emphasis seems to be on sonic texture and meticulously designed soundscapes, prioritizing atmospheric impact over lyrical depth or melodic ingenuity. It's certainly a departure from the emotional intimacy often associated with earlier musical eras.
The proliferation of AI-assisted composition and production tools further exacerbates this shift, raising questions about authorship, originality, and the very essence of artistic expression in the musical realm. Are we losing something essential in this quest for sonic perfection? Are we sacrificing the human element at the altar of technological advancement?
Anyway, I recently came across this video essay that eloquently articulated a similar concern, arguing that we're moving towards a predominance of "sound" over "music," a subtle but significant distinction. The essay posits that while music traditionally carried narrative weight, emotional resonance, and a clear sense of structure, the contemporary landscape is increasingly dominated by sonic textures and immersive soundscapes that prioritize atmosphere over traditional musical form.
It’s a fascinating paradox: the sheer volume and accessibility of music has exploded, but perhaps at the expense of meaningful engagement with individual works. The potential for democratization through technology has also perhaps introduced a new kind of homogenization, a flattening of musical expression. For what it's worth, I don't believe this shift towards a "sound-centric" approach is inherently negative. It simply represents a different aesthetic, a different way of interacting with and experiencing music.
But the question remains: what are the long-term implications of this transformation, and how will it shape the future of artistic creation and appreciation?
Take A Bow
I’m currently teaching myself violin at the moment (very slowly), and came across this: bows for guitars!
Needless to say, I’m very intrigued and can now hopefully live my Bach cello suite fantasies.
Good advice any time you think you’re an imposter…
“It ain’t what they call you, it’s what you answer to”
- W C Fields
Student survey: piano lesson prices
I need your feedback!
Currently, I offer a flexible, pay-as-you-go arrangement—each week I reserve a spot for returning students, and as long as you provide notice, you’re welcome to take time off whenever you need. This flexibility is something I value, as I understand that life is busy and piano lessons are meant to be enjoyable and enriching, not a source of stress or pressure.
While I want to ensure lessons fit into our busy lives, I've recently noticed an increase in last-minute changes and cancellations. This has made scheduling a bit challenging and impacts my ability to manage my teaching alongside other commitments.
However, lately I’ve noticed an increase last-minute cancellations and frequent changes to lesson times. This has made my schedule a bit unpredictable and has affected my ability to manage teaching alongside my other commitments.
I fully appreciate that other priorities may sometimes take precedence and I want to maintain a system that supports your musical journey for the long term. At the same time, my lesson prices are discounted to encourage regular, weekly attendance, and I’m starting to wonder whether this approach is still the best fit given everyone’s increasingly busy lives.
To help me find the best balance for all of us, I’d really appreciate your thoughts on alternative options that might work better for you.
Some ideas I’m considering include:
A monthly subscription model: This would involve a set monthly fee (paid by direct debit) that entitles you to a specific number of lessons each month.
Termly payments: This option involves a single upfront payment for a set number of lessons (e.g., 8-10) over a specific period.
Adjusted pay-as-you-go pricing: We could maintain the current pay-as-you-go structure, but adjust the price per lesson to reflect the need for more consistent attendance. This would bring the price closer to the Musician's Union guidelines, around £33-£35 per lesson.
If you have thoughts on these options, or ideas for a different structure that would suit you, I’d love to hear from you! My goal is to offer lessons in a way that’s enjoyable, fair, and sustainable for everyone.
Thank you so much for being a part of my teaching studio, and please feel free to reply with any feedback or suggestions.
Looking forward to hearing your thoughts!
The insanity of Alkan
Another little video essay worth queuing up for your watch list… this time on the insanity of Alkan, probably the piano’s original mad lad. Very entertaining.
Google Reviews
If you enjoy your lessons, leaving a quick Google Review would really help my teaching business grow and reach more people.
It doesn't need to be long—even a star rating makes a big difference. (And, you know, overly harsh reviews might scare away potential future rock stars... so let's aim for something positive, if possible!)
Do the thing here: [https://g.page/r/Cc3HF1XvTRPIEBM/review]
Have a great week!
Will