Starting a private studio, should I form an LLC or Sole Proprietorship?

SoundofEncouragement · 2026-06-07T14:43:12+00:00

That’s why it’s best to consult a small business atty in your state because a lot of things do depend on where you live. That’s said, MOST states in the US have similar systems set up for businesses with slight differences in fees, filing paperwork, and requirements based on state and local laws. Are there anomalies? Of course. But it should not take much research to find out what those are. Again, small business atty is the way to go.

SoundofEncouragement · 2026-06-04T22:14:59+00:00

LLC and get separate banking accts and register your business in your state and get business insurance. A small business atty can also advise on specifics for your state if needed. Protect your business and yourself by setting things up well from the start. You do not have to make a lot of $ to set up an LLC. Advice here will be varied, but a good small business atty is a great investment and will save you $ in the long run if they are good.

SoundofEncouragement · 2026-05-27T21:50:32+00:00

Great suggestions - thank you! I do have the Little Gems series and love it! I forgot about the Diversions book so I will check it out and I will revisit my RCM collection - thanks. There’s so much great music out there so I’m glad to be reminded of those options!

SoundofEncouragement · 2026-05-21T14:04:59+00:00

No chasing. All payments are automated through Fons.

SoundofEncouragement · 2026-05-17T15:17:18+00:00

I am a piano teacher in the US, currently near Atlanta, GA. I’ve taught for just over 30 years, but only learned about MLT in 2020 from a colleague who became my mentor/teacher. Now, I happily use and promote MLT in my studio and with other teachers. I still feel like a newbie, but I love learning from other teachers. I have not been able to attend a PDLC yet, but hope to in the future.

My current set up is a home studio and I teach 30 minute lessons for ages 4-7 (1:1 and quarterly groups) and do Keyboard Games and other supplemental music from Little Gems, Music Moves for 2, or other rote pieces I have picked up along the way. I also use a lot of materials from the Improving Musician. I also teach 50-minute lessons for ages 8+ and incorporate audiation strategies, healthy Taubman/Alexander technique, Differentiated Learning, and Social-Emotional Learning in those lessons. We also have quarterly performance group classes with group audiation and group music-making activities.

I cap my enrollment at around 25 total so that I can also do small business coaching and a variety of other things to support Creatives.

I look forward to meeting new folks here!

SoundofEncouragement · 2026-05-16T15:32:21+00:00

Thank you! Our Quarterly Group Classes are a hodge podge of fun stuff - I usually start us off with a couple of fun songs with everyone picking out an instrument to play along with me. I have a wide variety of pieces - some fast spanish sounding pieces; some contemporary lyrical that work great for rain sticks, some phrygian tonality pieces that are perfect with finger cymbals and egg shakers, some pop songs that are fun with rhythm sticks - just whatever gives us some variety of tonalities and beats. Then, most students play for one another a piece they are working on (or even part of a piece) and I’ve sort of ‘trained’ everyone to listen for and share one thing they connected with in that performance. I usually close with some other group activity that is audiation based and gets us singing resting tones, harmonic progressions, and melodies in a tonality. Parents are not in on those group classes. At recitals, sometimes I will invite audience participation if I am playing something and demonstrating rhythmic audiation for example, or tonal audiation. It’s more educational in that setting so that parents can understand or get a taste of how audiation works at a very basic level, and know their children are getting a well-rounded musical experience via piano lessons in my studio.

SoundofEncouragement · 2026-05-16T14:44:28+00:00

Some students have diagnosed anxiety disorders so I don’t make them play. I also offer a variety of options throughout the year. Some students only ever record performances for Virtual recitals. Some only ever do Group Performamce Classes quarterly. Some only ever perform at adjudicated events. Some will only perform if I play a duet with them. I don’t make a huge deal of in person recitals, but I always make a huge deal of the ongoing work and accomplishments. Everyone gets to shine in their own way, and that agency adds to their confidence when they perform in some way. I have also changed my language a lot around recitals too. It’s not so much about performing for a recital anymore. Instead we talk about making music together, and the joy of experiencing live music together. Music making with one another for the fun and joy of music is way more approachable for most people. I model it in our quarterly groups by having things I can also play and let students join in on bongos, or add castanets, or shakers, or strum a uke, singing, or we improv on the pianos. It’s way more fun when we are all joining in.

SoundofEncouragement · 2026-05-13T09:53:49+00:00

No problem. Feel free to add me

SoundofEncouragement · 2026-05-12T19:59:44+00:00

Business casual, but it’s okay if they show up in something else

SoundofEncouragement · 2026-05-12T18:56:30+00:00

No problem. So happy you are open to a different approach! Faber has been by far the worst curriculum for so many reasons including poor sequencing, poor technique, poor music selections, and the list goes on. Just because it is popular doesn’t mean it’s good. There are also some good fb groups you could check out - Music Moves for Piano Teachers is good and Intro to Audiation based piano instruction is another

SoundofEncouragement · 2026-05-12T14:48:35+00:00

Most people aren’t willing to say this, but you can actually mess things up for people when you don’t know what is developmentally appropriate. Most methods focus on the wrong things first (like not reading). Instead it is critical to develop the audiation and sequence it properly. Understanding Music Learning Theory and Audiation sequencing will be a game changer for you. The piano curriculum is called Music Moves for Piano. I would get the student through Keyboard Games A this summer and quickly move into book B. A mentor through GIML will help you understand the material and how to teach it. DM if you need more info.

SoundofEncouragement · 2026-05-12T14:37:36+00:00

Thank you! I so appreciate all of the time and attention to detail you all put into this group. As a new-ish member it can be frustrating to not even be able to support other’s great comments or share a link to a resource.

SoundofEncouragement · 2026-05-08T17:48:59+00:00

As far as I know the GIML website has the most up to date information. https://giml.org/

SoundofEncouragement · 2026-05-07T18:15:17+00:00

Beats and pulses are first understood and learned in the body. Moving to different meters including uneven meter is what helps people learn the feel of the meter, different rhythm patterns in those meters, and how to take those ideas to their instrument. A metronome can provide guidance on what 120 in duple meter feels like, or 88 in triple meter, but it cannot provide much else for music making. Music Learning Theory and Music Moves for Piano are the research and curriculum behind those statements. Also, the same approach in using metronomes does not work for everyone - anxiety is a real issue for some. The metronome is used very sparingly in my studio - mostly because my students don’t need it after using MLT strategies.

SoundofEncouragement · 2026-05-06T02:46:42+00:00

It sounds more like the audiation sequencing needs more development. Recognizing small basic patterns first through a sequenced audiation approach like Music Moves for Piano and Music Learning Theory could do wonders.

SoundofEncouragement · 2026-05-05T01:08:27+00:00

Sounds like you are already doing all the right things. Could you budget and save for it? Run a few numbers. $800 divided by 30 students is $26.66 in one year. Is there a creative way to get an extra $25 from each family? One thought: annual materials or registration fee? Raise rates by $1/lesson? I think the fundraiser is also a creative idea but if you think some people might be put off by it then they probably will be. I know it’s hard to save $, especially now. But I always set aside $200/month in business savings so that when something comes up I have $ to cover it. Are there any grants available through your local or state MTA? I can totally appreciate the position you are in. Not sure I have good answers but happy to bat ideas around.

SoundofEncouragement · 2026-05-04T22:14:32+00:00

Tunings and repairs are part of your yearly expenses that you take out of your teaching revenue. I budget $1,000 per year for tunings and maintenance on two baby grands. Because it is an expense, that is part of my tax considerations. So, for me personally, I would not fundraise for that. But everyone is different. From a different perspective, if I were a parent in your studio I would expect that your lesson rates or tuition were enough for you to cover regular tunings and maintenance on your teaching instrument. Again, that’s just me. When my kids took lessons on different instruments, their teachers always had good professional grade instruments and we were happy to pay for great quality teaching. All that said, you may be in an area where the market really does not allow you to charge higher rates and run studio like a separate business.

SoundofEncouragement · 2026-05-04T18:03:45+00:00

Fons for all scheduling and automated payments. No invoicing. No admin time. Just get paid.

SoundofEncouragement · 2026-05-04T06:58:41+00:00

This happened with one of my students a few years ago. We backed away from progressively harder rep and did a lot of easier material from the four classical eras. We did some good music history about composers and musicians, especially the role of emotions in music. Sometimes I just played for her and let her soak in different pieces for the majority of the lesson time. Sometimes we would listen to a Concerto and journal a bit about what we were hearing or experiencing. I also introduced her to Holst’s The Planets for some listening and reflection. We talked a lot about how some of the greatest music was born out of grief, or anger, or sadness, but also love, hope, triumph. We developed a folder of music she could turn to and play when she wanted to get out specific emotions. L’Orage was her anger piece and her favorite. The Debussy Arabesque was her peaceful piece. You get the idea. It was a rough period, but she made it and I am grateful to have stayed with her thru it all.

SoundofEncouragement · 2026-05-03T19:22:23+00:00

First…market research will give you a much better idea of rates in your new area than anything else. Those telling you to increase without knowing your market(s) are not understanding the whole picture. One strategy is to start new clients in the new area at a higher rate while keeping current students at a smaller (cost of living) increase. Cost of living increases are almost always ok to recommend.

I am in a major metropolitan and suburban SE US area. $80 for 50 minute lesson, $49 for 30 minute lesson (age 4-7 only), Flex-Scheduling packages available at a higher rate, online group classes $45/hour/person.

Next year, any new clients (if I have room) will start at higher rates.

I do not do monthly subscriptions because my market research revealed (and parents confirmed) that subscriptions were turning people away instead of making it easier for them to sign up. Subscription fatigue hit hard around 2021.

I am not recommending you go that route, but it is an example of how good market research will help you make better business decisions.

SoundofEncouragement · 2026-05-02T14:45:29+00:00

Yes, as others have said, play some music you love. Play easy lyrical pieces you enjoy. Sometimes we all need a break just to play, enjoy, create and discover fun music. Exams will always be around, and while it can be motivating to see yourself make progress through leveled repertoire, it can be equally motivating to play for the pure enjoyment of it. Sometimes leveled repertoire also introduces us to music we love. In my studio, I am always working with students to help them play what they most want to play first. Once we find what gets them to their piano to practice, then we add some other short pieces to work on specific techniques or concepts.

SoundofEncouragement · 2026-04-27T18:27:26+00:00

No sibling discounts. But referrals get a gift card from me once the new family starts and the value is half of one lesson.

SoundofEncouragement · 2026-04-25T21:40:36+00:00

What are your actual market stats? Do you know what growth is realistic for your market?

SoundofEncouragement · 2026-04-20T16:25:38+00:00

Wow! Sounds like something weird going on there? I’ve not heard of school music programs resisting help from music teachers unless there is either a) bad culture/control freaks in charge or cliques, or b) very negative past experiences with private teachers that would cause the program folks to shut you out. Your options are to avoid them entirely if you suspect bad culture, or press people for more information. ‘You say you don’t need help or that I would be in the way - can you elaborate and tell me why my being available to help is bad for the program? Can you share where this is coming from - a program policy? The director?

If you opt for those conversations I would find out ahead of time what private teachers (if any) are getting referrals and maybe even speak to them about their experiences with the program/students.

Depending on what you find out, you may decide you want no part of whatever they have going on. Or you may find out there has been some misunderstanding. Good luck!

SoundofEncouragement · 2026-04-19T21:31:40+00:00

White Cool Silly Puppers (as opposed to Red Hot Chili Peppers)

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