You'll Hear It: Full Album Deep Dives with Jazz Musicians - Building Your Teaching Chops

Episode Date: May 22, 2023

Join Adam and Peter as they breakdown how to build a teaching curriculum that compliments your music career.Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open StudioLet us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Instagram

Hey, Adam. Yes. Are you a teacher or an artist or an artist teacher? I'm an instructor. Instructor. I'm mentor, Adam Manus. I am instructor and guide and capitan Peter Martin. We're just trying to think of all these different names for teacher.

Guru is literally the name for a teacher. It's a name of a hip-hop artist from Yor as well. Yeah, yeah. Yes, this is the you'll hear of podcast, music advice coming at you. Maybe a little bit of educational advice coming at you today. A little edutainment. A little edutainment. We're talking about teaching today.

We're not talking about practice. We're talking about teaching. I think something that we have a little bit of shared or collective experience and knowledge about something that we're super passionate about. I should hope so. Individually and as, you know, open studio. And yeah. More specifically, we're talking about how to build your teaching studio.

Right. So there's a couple of things that you're going to want, and I think that we're going to try to solve, is how to make it successful, meaning like, not just financially, but how to make it something that's fulfilling for you so that it's not just like a J.O.B. I've got to teach. Right. But something that is actually something that helps you grow as a musician. Yes. That's one way.

And then, of course, to help supplement any kind of performing income. It can be very, very handy to have regular teaching. work. Yes. Because, you know, it's a pirate's life we're living here, Peter. We just go from port to port, like trying to make things work. Like ships at sea. And, you know, it's sometimes it's feast, sometimes it's famine and a steady teaching gig could really help, like on any level can really help to keep a nice foundation of income happening. Yeah. And I think the beauty of it is that you can, you know, it can certainly check that box in terms of like professional income stability. It can check the box of ongoing, you know, personal development edification with your craft.

Absolutely. And keep that kind of in balance at the same time. And also, I think it can really keep in balance us giving back in a way that is different, but just as important as what we do performing wise. A lot of times people think about like, I want to play music. I fell in love with performing music, playing for others. And that's my service. And I think that that's a noble thing.

It's an important thing. And as an artist, like, it doesn't get any better than that to me because you're, you have the potential every time you sit at your instrument or pick up the microphone as your vocal list or whatever it is that you're doing, your paintbrush to uplift, to edify, to change somebody's life, to put a smile on them on their face, to put a tear in their eyes, you know, to do all the, the myriad of human emotions to affect people in such an amazing way. So that becomes like the focus And unfortunately I think a lot of times People are like oh When I don't have a chance to do that I have to teach just because I got to do something professionally

And when you get that balance right And it's different for everybody It is But if you can get that balance You can be serving in two different ways Because I always think of teaching As like having that potential Sort of network multiplier effect

Of course Because you You're still going to be playing your music And lifting up folks with that but by teaching others to do that and then it's like a beautiful pyramid scheme that's actually legal you know because then they can go teach other people so like you're handing off multiple batons and then keeping this whole beautiful ecosystem of artistry in the world and doing your part to give back so you feel you know it's like whenever you donate to something or you help somebody out

it's not it's not just an altruistic thing I think it's a very selfish thing in a beautiful way and that you get a lot out of it's right it's not just about giving to them you get that connection with uplifting and helping others. So I look at teaching very much, you know, in that way. And then certainly for the for the side or the sort of corollary benefits as well as income stability and all these different things. And if you look at people that have that balance right, they're so happy. You know what I mean? Like with their because they've got, they can avoid, but look, we've got some young insiders out here today. Maybe they're coming to learn from us. Hey, they can't see us. They can't see us. Yeah. Yeah. But.

But, you know, when you get that balance going correctly, it becomes a flexible thing. You can add a little bit more sometimes when you need to teach it. You can take that away a little bit. But I think for me, it's always been an important part of my why. Well, that's what I was going to say is like, you know, the first thing that you can do is to really find your why. Why are you teaching? You know, and really, you know, you might take just a sheet of paper and write down,

why do you want to teach? And this could really save you from the, well, I just need some extra income, right? Even if that's the case, what are the other reasons that you want to do this? Is it because you want to have a close connection with music? Are you asking me? Well, no, I'm saying. I'm ready to answer if you are. I'm saying this is a question you would ask yourself.

Is it a monologue or a podcast? What's going on? Just kidding. Questions you would want to ask yourself is why am I teaching it? It can just be, of course, for the money. But, you know, as you said, like, this can be something that is part of your practice. This is part of your life. as a musician. For me, I have learned as much teaching and having good students ask good questions

about what I'm teaching that forces you to re-examine things that you do and techniques that you have and why you use them and how you think about them. And wait, have I not turned this over as many times as I thought I have? Right. You know, because they're having a question that maybe you've never thought of about a concept. And you're like, wait, I need to be able to actually explain this or I need to be able to at least demonstrate this in a way that makes sense. And that helps you to understand, oh, okay, this is how I'm actually thinking about this. This is how this is coming through me. Yeah. You know, that can be very rewarding. So maybe that's your why of like, I'm going to use this as a tool to hone my own playing. Yeah. You know, or I'm going to use this as a tool to

connect, as you said. And sometimes it's like a little bit of like kind of verify ideas and as well. Like you think about like a someone who's doing research or like a philosopher or something. Like a lot of times they'll teach to put those ideas out there and be like, wait a second, is this. See if it's water. Yeah, yeah. See if it, you know, give it a floor run.

See how it plays. That kind of a thing. I find it very useful for that. Me too, man. You know, I do all of these like, especially with Open Studio and on the YouTube channel, a ton of stuff on like harmonic teachings and working with some of like Barry Harris and Hank Jones's concepts and I find that as soon as I put it out there, it better be sound because people will tell you if it's not.

So it really forces you to make some good habits in like really checking on your stuff and making sure that you understand at least a little bit how it works. Right. Okay. So now we've got our why, which is to save the world, save humanity. Next up is to find your niche. Find your niche. So all so important.

It's really important because if you think about it, there's all. sorts of different kinds of teachers. Think about there's a college conservatory professor that teaches harmony. There's Ron Carter who still teaches lessons to bassist as more of really in that guru position of like, I'm here to tell you what works for me and to coach you to be the best player you can be. Also has a course available on a studio. That's right, right. And I think it's important to note, even when you get to that very high level, that sort of pinnacle of base, it's like, wow, Ron Carter is teaching, don't, like, I would say that his niche is actually not what you think it might be, which is like how to play like Ron Carter. No. That's not what he teaches. No, he teaches you how to be the

best player, base player you can be. Exactly. It's more like how to practice like Ron Carter, how to think like Ron Carter, which is not exactly what you're expecting maybe, which is a lot of fun, really. Well, and then there's people like, you know, Roy Hargrove, who notoriously was not a big talker about music, breaking it down. But I have friends. who took lessons with him. Oh, wow. And he would, one friend told me a great story. He was in, I think he was in Paris, and Roy was in Paris.

And he somehow got a hold of him on social media or by email. And he said, let's, yeah, he's like, yes, we can have a lesson eight o'clock tomorrow. And that was the only information. 8 a.m. or 8 p.m. There was no, none of that. And it was not, there was no, here's where I am. you have to find me. And when he got there, and this trumpet player, who's a very good accomplished trumpet player now,

he did, he figured it out, he figured out where he was, and he got there, and Roy was like, I was just wanted to make sure you were serious. Wow. You know, but that was the lesson of like. That doesn't surprise you. That's very cool. Yeah. I was going to say, too, with Roy, like, finding.

By the way, I don't think he charged him for that. Like, it was just like, if you're serious, let's do this. Right. It's not about. was the price of admission. That's Roy's why is passing that along. For sure. Yeah, he was very much of that like pass a baton, but but be serious about it and a little bit of a challenge. It doesn't surprise me that. That's on brand for him. But I was thinking when you first brought up Roy, that's another kind of find your niche and sort of where you want to do it as well because

a lot of the teaching that I saw Roy do over the years was at jam sessions. Yeah. You know, and it wasn't the overt, like, play this, but it was more like leading by example. But he loved, especially if there was young players in New York or wherever, you know, and when I used to tour with him, like, he was always, like, man, it's going to this session. And we'd be like, man, I'm tired or like, I don't know. Like, we would sort of be like, well, who's going to be playing? And, you know, he doesn't care. He didn't care.

He didn't care. It's like somebody that's interested. Like, he didn't necessarily look at it as like, I'm going to go there and learn something, although he might have, but it might have been like, I'm going to go there. And still have just a good of a time if everybody's worse than me, which is probably the case, most of the time. And that's his niche. Yeah. And maybe that's your niche is to lead by example and to build a studio based off of this sort of like coaching mentorship more than here's what scale to play over B-flat blues or whatever. You know what I mean? Or maybe it is I am like maybe

you're thinking like, oh, you know what? I'm really, I know a lot about stride piano or I know a lot about Bud Powell. Like you can be that person. I'm the Bud Powell person who like if you want to learn about this, go to me. Or I'm the monk person. Like you can have. actually, I need a teacher. You can, no, you can really, you know, all of us are a little bit of a generalist, as we have to be to make ends meet, but you can have a specific lane. And it's okay actually to lean into that lane.

So don't be afraid to lean into what you're good at. Yeah. Because you're going to attract students who say, like, hey, I heard you know a lot about Bud Powell. Yeah. You know what I mean? I love Bud Powell. Can you show me that stuff? That's a niche.

That's a niche. Riches are in the niches. Right. So let's talk a little business. Okay. that is am I getting you out of order on in your bujo so next is to find your platform find your platform again Roy Hargrove's platform was in his hotel room that you had to find yourself yeah and but maybe your platform is your home maybe it's a music store yeah traditional that's a traditional

so and the platform should match your niche niche niche or or your expertise also like so you say a music music store, that you're going to, you better be good at some very beginner teaching. Yep. Like, I'm horrible at this. That is not my niche. But if you're looking for beginner teaching and you're trying to do it over Zoom, right, that's going to be harder. Yeah, I mean, it's possible, but also like know your audience in terms of your niche.

Like people come to a music store. That's so old school to be like, oh, I'm going to go buy an instrument. Oh, see if they have any teach. Like, it's very casual. It's what's keeping piano stores in business, though. Exactly. Exactly. But you need to be able to, like, meet people where they are.

and you have to have that kind of personality, but you also have to have that kind of know-how. Like, it can't be, you have to be able to break things down at that beginner level in a way that's clear and inspiring and it's not too much at the beginning and all the things that I would totally screw up in that situation. Maybe your platform is a school or a university. Right.

And you can find a institution of higher learning. I mean, I feel like if you're teaching an institution of higher learning, you're probably already on that sort of path because you have to be. Right. But maybe it's not. Maybe your platform is Zoom. Right. You know, and which we've, you know, found for us, our platform at OpenStudioJazz.com.

Ever heard of it? Yeah, that's right. Familiaria with its work? Which maybe you build your own website. That's how this whole thing started. Is you and Dan Martin built just petermartin music.com. Peter Martin Jazz Video Piano Lessons.com. It was a, catchy.

But it's also, it doesn't have to be. It's kitsy. It doesn't have to be one platform. Because now, like, for instance, Open Studio, we are. Our platform is a podcast. Right. It is a YouTube channel. It is actually two YouTube channels.

That's true. It is live all the time. It is Open StudioJazz.com. Yeah. It is Zoom and Open Studio Pro. Yep. And it's probably some other things I'm not, I'm even forgetting. It's Instagram.

Right. It's YouTube shorts. It becomes a matter of like when we talk about platform, don't get to, I would encourage folks, don't get too caught up in which platform. Should I teach on Instagram or my own site or whatever? It's like, what can you? you, like we've created a whole system because we've got a lot of different students in a lot of different places.

Yeah. And we're trying to serve. Our niche is very much jazz, jazz piano, jazz bass, jazz drums, but very much like defined in terms of that. But then what I think we've done is crafted and continue to do is to really craft a platform and a combination of things that best serve our community, our students in an ongoing way to be able to access information in different ways. Sometimes that's an old school PDF.

Sometimes that's a printed book. sometimes that's watching a pre-recorded video. Sometimes that's a live community-based session. Or a podcast or whatever. Sometimes it's this kind of thing. Sometimes it's a YouTube video where it's very broad because anybody's searching for something on altered scales is going to come to us.

So it's like you want to kind of fit to the audience and fit to the platform as opposed to the other way around to be like, what platform am I going to go on? Figure out what it is you're going to do, what your area of expertise, what your niche is, and then craft a platform. and that could be as simple as a Skype list. Do people still do that?

Skype lessons? Well, they do more Zoom. No. Right. Zoom has killed Skype. And the whole advantage, I would say, to doing something online, it's not necessarily better or worse than in person. I mean, a lot of times, like you alluded to, you know, like a beginner lesson or maybe with a kid,

you know, a young person at piano is going to be ideal in an in-person situation. But the advantage of doing things online, and if you do want to teach and feel like you're niche is so specific is that there might in the city you live in only be like seven people or three people or maybe nobody that needs what you're given. Whereas when you go online with it, you've got access

to the whole world. There might be 100 people, more than you could even handle that are interested and need what you have to teach. So it opens you up to a worldwide kind of market and audience, which is very exciting. Well, and it doesn't have to be just Zoom lessons, you know, live in person. It doesn't have to even be, you know, YouTube videos. like one of, I would say, the most prolific teachers in modern social media in this is our friend

of the show, Rick Beato, with his PDF download. Rick, who? The Beato book. The Beato book. I like the way you say that. Popular Beato book. But think about that. That's his main source of teaching, right?

Yeah. I mean, he has his YouTube videos, which are very educational. But that Beato book is really, you know, in the nuts and bolts of teaching his whole thing, right? and his short video lessons, which are a very different kind of medium too, but convey specific information in a really cool way. But I think his Beato book is probably his most popular thing. So you can actually,

and that's a PDF download. Like you can make a PDF download. And then you do what Rick does, and that brings us to our last point, which is find your audience. Yeah. And you find that on social media. You find it on Instagram,

Facebook, YouTube, TikTok, wherever you've got to find it. And if you have something, then a lesson to sell or lessons to sell, that's building your students. That is a modern version of building your studio. You can self-publish, you can self-market, and you can make a difference. And you can also learn because people are going to give you feedback on the PDF.

You have to have your shit together on all the pedagogy and all that stuff. The feedback loop can be really destructive and disheartening and frustrating and troll-esque. But it can be, you know, if you approach it with the mindset of like being able to filter out stuff that is just, just people trolling or whatever, it can be really helpful. And it's an important thing. I mean, it took me actually, I'm ashamed to say years to get over this concept of like really listening to

not every single individual feedback point from all of your students, but understanding the general kind of feedback from a number of them. And that's so valid, you know, and important. and not to be like, no, it's supposed to be this way because I learned it this way. And back in my, like, as soon as you start

thing like that, you're not going to be an effect if you're going to be right, but you're going to be correct, but not right. Right. And also you can't, and the flip side of that, it's the middle way. You can't also just change everything with everybody's whim all the time.

You have to have some kind of common ground. Get the sort of the temperature of your studio and then you can mold what you're doing to that temperature, you know, to the general consensus. Like, because oftentimes it's not, even like, you know, students are needy or the, or you're being dogmatic. It's more just like you're either talking over them or talking under them. Yeah. So you can actually talk about the

same thing. Just sort of dial in how you describe it or, you know, start, instead of starting here, start back here. Right. Going towards this, right? Right. Because you got to be able to like, it's, it's like a coach, like an athletic endeavor, say running. Like, you can have the perfect training plan for a world-class athlete that is just finely tuned. And then you can insist on that for just a recreational athlete that maybe aspires to get to that level. But you don't meet them, but you're like, you know what? No, you have to have the best of everything and you're going to do this. They're not going to be able to accept that. Like, in order to be able to find what is it that needs to work for them to not only to get better, yeah, of course, everybody needs the best

instruction at all time. Everyone needs to travel in the backseat of a S-class Mercedes. You know, that would be better than, but you also have to meet people where they are to get them to the next point, to get them to the, that's what I think brilliant teaching is. And so when you've got groups of people and you're doing it online or you're making videos or PDFs for a number of different people, it's not about dumbing things down, but it's about making them high quality, accessible, and ultimately serving the goal of helping people get better and more connected with the music, become a better pianist, become a better improviser, become, you know, like when Roy Hargrove it, it's one high-level aspiring trumpet player, you got to have them jump to a few more hoops. But,

He's not going to do that to everybody. No. It's like it has to be situational and appropriate for where they are in their trajectory as an artist. It's great stuff, man. Well, good luck starting your teaching studio if you're thinking about it. I encourage you to do it not just for, like I said, not just for extra bread, but for actually helping you on your musical journey. Yeah.

It helps. Absolutely. It really does. Make sure you get your Y first and then you're going to be good. Let's talk about it. All 12 keys, good to go. That's my line. What about, do we have some kind of a condition contract agreement?

Agreement, gentlemen and ladies agreement. Now, I got to warn you, a lot of our audience is a little bit raw, and they don't always have the most gentleman or ladylike demeanor. They're out running a marathon without Vaseline? Exactly. A little bit raw, you know, rough around the edges, which is fine. But in order to fully participate in this agreement, you've got to act like a gentleman. You've got to act like a lady.

at least for a minute as you're pressing what the subscribe button the subscribe button on youtube and you might say what is youtube well go to youtube.com search for you'll hear you'll hear it and you'll find it doesn't matter if you're not watching it there feel free to watch don't we look great but um subscribe there because it's a lot easier than subscribing to the apple podcast is it it iTunes is it on your phone are you driving is it Spotify what the hell's going on is it Stitcher I know we got a lot of people on Stitcher still just to be safe yeah you might as well subscribe everywhere. You can't. I like this. You're always, you're always pushing it a little more. I like that. And then make you to leave the comment. That's part of the new agreement. The new gentleman and ladies

comment. Subscribe. And basically just affirm it doesn't have to be a highfalutin thing, right? Say agreement adhered to. Right, right. Agreement. You can just be like done slash a lady. Agreed. Agreed. Yeah. Slash gentleman. Bam. Slash lady. Until next time. You'll hear it.