Originally from upstate New York, Yamaha Music School of Boston Teacher Sarah Corrigan attended the Eastman School of Music. After graduating in 2002, Sarah went on to teach in the Rush-Henrietta School District and the Greece Central School District (NY) before receiving the position of Choral Director in the Greater Johnstown School District (NY).Sarah has directed two musicals, performed in numerous 
recitals both solo and as a collaborative artist and been a guest conductor in the capital district of New York.
Sarah resides in Somerville, MA and recently completed the Master's Degree in Piano Performanceis at the Longy School of Music. Sarah studies with Ludmilla Lifson.
Sarah recently met with School Director Jim Keenan to talk about her teaching philosophy and experiences in the Yamaha classroom.
EARLY ENSEMBLE PLAYING IN THE YAMAHA CLASSROOM
Jim: What do you enjoy most about teaching Yamaha?
Sarah: All of the kids are super cute, and I like teaching in a group setting where the children can feed off of each other's energy. They also learn from each other and they get to play in an ensemble. Having directed choir before, I get to use some of my ensemble conducting experience, even if it's two or three parts. It's a lot of fun for me and a great learning experience for the children.
The ensemble experience is very different from any other type of method available. It's not just duets, but they get to choose their own instruments and make their own little orchestra. They begin this is in the first year, so it's very fulfilling for me as a teacher. They can play well, play together, and watch the conductor.
Jim: In our All-School Concerts, I noticed that you conducted your classes rather than leading from the piano.
Sarah: Yes - even when we use the CD for accompaniment, I try and get them to watch me carefully. It's unique to work with ensembles at a young age. With private lessons, you can coach a little bit, such as breathing together and cuing in duet playing. Typically, the children don't learn how to play in an ensemble in a private lesson environment
Jim: Have you found that the children are receptive and capable of a quality ensemble experience at age 4 or 5?
Sarah: Yes. Of course, in the beginning I have to do a lot of the "watch me!" and then cut off, but they learn what a cut off is, and I have kids cut me off some times. And they have pretty good cut offs!
Jim: They're building awareness beyond just "me and the keyboard." They're aware of the teacher, the other children and the importance of playing together.
Sarah: They have to listen to each other, which is something that pianists usually don't learn early on. You're not exposed to it until you play chamber music or accompany. I didn't know that I had to listen to anyone else for a long time. Although students might not be familiar with the specific meanings and gestures of the conducting patters, they are learning to listen. I get to ask them, "were we together there?" and a lot of times they can tell me "no."
Jim: Do you find that using different voices or sounds on the keyboard improve their listening?
Sarah: Yes, they really like that and they like to choose their own. It also focuses their attention on the orchestration on the CD. They'll pick something that works with the CD, because that's what they hear. I'll ask them, "do you think a flute will work here," and they'll say, "no, because it's a trumpet solo." So they might pick a brass instrument.
Jim: You're building an early sensitivity to other instrument sounds.
Sarah: I hope so, and they get that on their own by listening to it.
PROGRESS IN THE CLASS
Jim: When you reflect on your Yamaha teaching, has there been anything that has surprised you?
Sarah: I think their progress has surprised me. I've had many of them from the beginning and it's exciting to see their personalities evolve. To see how they open up and how they interact with each other, the friendships in class, all growing together. I've had kids who were shy in the beginning and now they're eager to play solos. Part of the reason is that they've all gone through it together. Just to see how much they can play from the beginning, and how they're playing hands together and playing by ear.
But what surprises me the most is certain things they listen for. Some times I haven't pointed out an instrument, and they'll be able to point it out, or they may be able to sing solfege to a song on their own before we've done it together.
I'm also surprised at how wonderful the parents are about working with their kids. They're really committed and have built the music practice into their daily lives.
Jim: It's rewarding to see that level of commitment.
Sarah: Yes, definitely.
THE VALUE OF ROUTINE AND REPITITION
Jim: You mentioned earlier that the kids thrive on consistent practice routines and repeating the same songs over and over. Why do you think that is?
Sarah: I think that for children it's a little different every time. They hear something new every time... adults see routine when the children see something different.
Jim: They bring a fresh curiosity to it.
Sarah: Yes - and if it's fun, they'll keep doing it. They instinctively know when it is improving, and that inspires them to keep going.
Also, the repetition encourages listening to the music deeply, not just to get through it to play it. Every child is different: some of them will play it with ease, and some of them will have more difficulty because of smaller hands or a thousand other reasons. But each student makes a unique contribution. Some may hear different things or be able to sing the solfege more quickly.
YOUNG MUSICIANS COURSE
Jim: We've been speaking mostly about Junior Music Course, but I know that you enjoy teaching Young Musicians Course too (JMC is for beginners age 4-5; YMC is for beginners age 6-8).
Sarah: It's super fun to teach YMC! With the age difference, the personalities come though a bit more. The classroom is not new to them. They tend to be more independent. With this age, I have more little personal conversations where they want to know about me and I want to know about them. That part's a lot of fun. They may also be more verbal and assertive. They'll say, "Oh, I think it should be like this!"
Jim: Is there anything else that has been particularly gratifying for you?
Sarah: In the beginning of JMC the students can be shy and now they've just blossomed. They're more tuned into the other children in the class, or they're more eager to play a solo than before. I think many of the same things have surprised their parents, too.
I've had a few students in YMC that had some early trouble playing hands together, but now they're playing very well. Sometimes they just need a little extra little push or extra help from me after class, but then they're fine.
TRUSTING IN EACH CHILD'S NATURAL ABILITY
Jim: You seem very trusting of the innate potential in each student, and in believing that the course can draw it out over time.
Sarah: I think that every child can do it, and I believe that the parents also recognize that. It might take some longer... it took me awhile. My mom begged me to quit, and then they just kind of trusted, so some of that comes from my parents. "Maybe she'll get it someday. I don't know why she sticks with it, she doesn't practice... well maybe she's improving." But I got it at some point. I think if you just trust the kids they'll do it too. Letting certain things go, and letting them do it on their own, and to know that it's ok if they don't get everything at the beginning. They might seem to fall behind a little bit, but they tend to catch up.
I know it doesn't happen in two or three weeks, it might happen over a year. But they'll get it eventually. Children, even at a young age, can push themselves and be very determined.
COMPREHENSIVE GROUP TRAINING AND PRIVATE INSTRUCTION
Jim: When parents see the Yamaha class for the first time, they see the keyboard work, but they also see a lot of singing, listening, and ear training. Sometimes there is a concern about, "Will my child really progress enough on the keyboard or piano?" How do you address this concern?
Sarah: Come into one of my book 4 classes - they are really playing! They're playing real songs, but it takes time. There are some children with more advanced motor skills who will play hands together from the beginning, no problem. But those are exceptions. But with a comprehensive approach, all of their musical skills develop. But definitely, they will be able to play and there's no doubt about it.
Even if they start at four in a private lesson, they're not going to be able to play these fancy two hands pieces until two years later anyway. So why not engage in some other areas that can build overall musicianship? I feel that Yamaha's approach is more organic. When you're teaching two hands in the beginning, it's almost like I'm forcing it upon them. It doesn't feel as natural.
ADVICE FOR BEGINNING YAMAHA PARENTS
Jim: Finally, what kind of advice do you give to a beginning Yamaha parent?
Sarah: To practice from the very beginning and to make it really fun. Don't over do it. Sometimes I get a little worried when I see a half hour of practice each day for book one or book two. It's a little too much if that entire time is spent at the keyboard. However, if they're including everything else in that half hour.... playing, listening and singing, then it's wonderful. But make it fun for you and your child, relax about it and trust in their natural abilities to come out over time.
Be careful to not compare your child to another child, because everyone is different. Really try to remember that each child is different and unique. To be structured still, to guide them and set boundaries, but provide the freedom within those boundaries to grow in their own way.
I've noticed that some parents think if the child is not doing every single thing that I ask for, then they're not doing well. That's definitely not true. Some children may sing, but very quietly, or they'll sing at class but not at home, or they might play only half of the song. They don't have to do everything all at once, it takes time. See the small things that are successful. It's really easy to overlook that as adults because we want to get everything all at once. Don't just celebrate the finished product, but everything along the way.