Instrumental Teaching Portfolio: Piano Lesson Analysis and Reflection
Introduction
This portfolio reflects on a series of piano lessons with an intermediate student, Jo (around Grade 5 standard), supported by video evidence. Although the student already had some ability, he had not been playing regularly for a while. Because of this, the main aim was not simply to teach new material, but to rebuild his technique, confidence, and overall musicality through structured yet engaging teaching. These lessons took place over a ten-week teaching period, during which steady improvement was evident. Viewing video recordings across multiple weeks makes clear that Jo developed considerable confidence in his playing. Using a lesson plan template allowed for organised sessions with a clear beginning, middle, and end, ensuring that the majority of intended aims were addressed. This portfolio examines how those aims were achieved, focusing on the rationale behind specific teaching choices, and connecting those choices to key theories: Dalcroze Eurhythmics, Bruner’s Enactive Learning Theory, and Self-Determination Theory (Deci & Ryan, 1985), demonstrating how each supported the student’s development.
Lesson Planning and Structure
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=1728e09e-6179-4dd9-894f-b43f0161e0c8
Throughout this five lesson period, each session aimed to have good engagement and efficiency within the short timeframe, reflecting ideas of accelerated learning. Although content evolved each week, the overall structure remained relatively consistent, which helped it feel more familiar for Jo.
Each lesson began with a quick conversational check-in, creating a relaxed atmosphere where Jo felt comfortable and willing to engage. This is supported by research, which highlights that emotional safety is a need for effective cognitive engagement (Bloom et al., 1956). The check-in also gave an opportunity to discuss practice since the previous session, which directly shaped the focus of that lesson.
Lesson aims and objectives were introduced early in each session to give direction. Even when broad, it was a reminder as a teacher, and for the student, an idea of where the lesson was heading. Over time, these became more specific as an understanding of Jo’s ability grew. Across all five lessons, the aims centred on improving technique, rhythm, and musicality, while the specific objectives and activities used to work towards them developed each week. The main section of each lesson was divided into shorter activities, typically including technical work, rhythm exercises, and a piece. Breaking the lesson up in this way made it easier to focus on one aspect at a time, rather than attempting to address everything at once. The final part of each lesson was used to recap the lesson’s content and set practice tasks for home, which was especially important given the two-week gap between lessons.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=dd61ca01-b7cf-4dfc-819b-b43f0161a686Development of Technical Control: Enactive Learning Theory
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=9b305172-dcce-4b87-b015-b43f01617328 https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=cd696c67-7b99-49f1-ae7d-b43f01613e11A significant focus of each lesson was improving technical control, particularly through scales, chords, and hand positioning. The idea is that without physical control, a student cannot fully communicate musically.
This approach was strongly influenced by Bruner’s Enactive Learning Theory (1966), which focuses on learning through physical action and embodied experience. Rather than relying on explanation, the teaching focused on building kinaesthetic awareness, letting Jo feel what correct technique should be like. Bruner argues that the enactive mode of representation, doing before knowing, is especially useful in a practical setting, making it highly relatable to instrumental teaching.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=a5e97b59-f677-4f75-8ad6-b43f0160909fImagery such as “fingers like little hammers bouncing on a trampoline” was not unintentional; it connects to accelerated learning, where concrete, image based language engages both cognitive and sensory processes, making abstract ideas easier to understand.
Slowing scales down was another pedagogical choice. It supports cognitive processing by letting errors be corrected before becoming a habit. This aligns with Ericsson’s concept of deliberate practice (1993), in which focused, intentional repetition with feedback drives skill acquisition far more effectively than mindless repetition. Contrary motion scales were introduced in later lessons to further develop coordination without adding new technical ideas, and the progress visible in later recordings demonstrates how effective this combination of repetition and reflective feedback can be.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=c41d980d-40cc-4477-bef3-b43f015f15b0Rhythm and Pulse: Dalcroze Eurythmics
One of the most prominent issues in Jo’s playing was rhythmic inconsistency. As an experienced drummer, he had an intuitive feel for pulse, but translating that into piano playing presented a bit of a challenge. Drawing on the principles of Dalcroze Eurhythmics (Dalcroze, 1921), rhythm should not be ‘counted’, but as a physical experience.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=5d072394-8e98-4ea7-a596-b43f015fa002A typical Dalcroze-inspired activity used in these lessons involved Jo patting the rhythmic pattern of a phrase on his lap with both hands while simultaneously singing the melody aloud. For example, when working on ‘Superstition’ by Stevie Wonder, he would pat the crotchet pulse with his left hand and the syncopated melodic rhythm with his right, while vocalising the melody. This uses the Dalcroze method of separating rhythmic layers through the body before playing them on the instrument. The physical engagement meant Jo was feeling rhythm through movement rather than calculation, making his playing more natural and stable. The slight awkwardness during these exercises was a good sign as it is where meaningful learning occurs (Vygotsky, 1978).
Combining movement with vocalisation created a multi-sensory learning experience and engaging multiple senses to enhance retention and understanding. When Jo returned to the piano after this, the improvement in rhythmic stability was clear, not because he was counting more carefully, but because he had physically internalised the pulse.
Expression and Musicality: Imagination and Kodály Influence
Alongside technique, the lessons aimed to develop musical expression, which students frequently ignore as they think note accuracy is more important. To support this, imaginative language was used to frame musical phrases, drawing on the Kodály philosophy that music should first be experienced and internalised rather than simply read from a page (Kodály, 1974).
A specific Kodály-inspired activity involved using rhythmic solmisation to help Jo hear a phrase internally before playing it. For example, he patted his lap and sung the rhythm out loud so he could get a feel for the groove of the song. This process encourages students to develop inner hearing, so that the physical act of playing becomes an expression of something already understood rather than something robotic.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=9225e2e8-ca3b-4d94-9717-b43f015f7052The metaphor of a “conversation between the hands” was also used to encourage more expressive phrasing. Rather than thinking abstractly about dynamics, Jo had to imagine the right hand “asking a question” and the left hand “responding.” This connects to Copland’s (1939) idea that imagination is central to musical understanding. By thinking of expression in a imaginative way, the playing became noticeably less mechanical and more fluid. If Jo lost the groove at home during independent practice, he was encouraged to listen to the original recording and try the singing technique again before playing it, ensuring he could picture the rhythm in his head before physically playing it.
Assessment Strategies: Formative and Summative Approaches
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=96c8fd85-e16a-48d1-bd2d-b43f01611d0cAssessment played a useful role throughout the lessons, primarily through formative methods. Ongoing feedback allowed Jo to adjust his playing in real time, which helped improvement. This aligns with research demonstrating that regular, specific feedback is one of the most useful tools to help students progress. Some elements of summative assessment were also used, particularly when revisiting previously learned material such as chord inversions, which gave space for more progress overtime.
Feedback was talked about intentionally to emphasise improvement rather than not. Leading with positive affirmations before addressing areas for development aligns with motivation theory, as positive reinforcement helps intrinsic motivation and reduces performance anxiety (Deci & Ryan, 1985). This was particularly important given that Jo was returning to the instrument after a period away, during which confidence may have disappeared.
Motivation and Independent Learning
A key objective across the lessons was to develop Jo’s independent practice strategies, so that learning could continue meaningfully between sessions. This is strongly informed by Self-Determination Theory (Deci & Ryan, 1985), which identifies three psychological needs that should be met for intrinsic motivation: autonomy, competence, and relatedness.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=b208a276-de6d-474e-adda-b43f015f15a2 https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=ae00536a-ece9-40d7-8c43-b43f015f15d1Autonomy was supported by allowing Jo to choose his own repertoire. When he expressed he was interested in learning Liebesträume No. 3 by Franz Liszt, we did so in the later lessons, giving him a sense of control over his learning journey. Structured exercises and clear progress markers, allowed him to see his improvement. A supportive teacher-pupil relationship, aimed to create a positive learning environment where he could feel comfortable.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=2599ce18-bfe1-4cae-8de1-b43f015f15a3Using structured practice strategies, such as dividing practice into sections (rhythm, technique, expression), is a way to make sure he can allocate his practice to relevant areas with the help of effective practice methods. The lesson then extends beyond just teaching content but also to teaching how to learn. Additionally, introducing new concepts such as minor keys was a deliberate motivational strategy. He mentioned that it intrigued him and he wanted to give them a try, so that became something we looked at later. By exposing him to unfamiliar material, curiosity is stimulated, which encourages further exploration.
Use of Repertoire: ‘Superstition’ and Contextual Learning
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=bad70e58-85b9-4ea6-8f13-b43f01607907 https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=3ec22d1b-0616-4c55-a38e-b43f015ffa80The choice of repertoire, such as Superstition by Stevie Wonder, was important to how the lesson ran. The piece naturally supports the lesson aims as it focuses heavily on rhythm, groove, and articulation. This made it a strong choice for developing Jo’s timing and overall musical feel, rather than just accuracy. Alongside this, it also happens to be around his skillset level where it wouldn’t be too out of reach to learn but could challenge him in areas that we were working on. Superstition was useful as Jo is a fan of Stevie Wonder’s music so by using more contemporary or familiar repertoire, it could better engagement. Later on, he chose to learn Liebesträume No. 3 by Franz Liszt, as mentioned earlier, giving him autonomy over choosing his pieces, it supported his motivation and gave him a sense of ownership over his learning. Working with backing tracks later on helped create a more realistic musical context, encouraging him to stay in time and develop a stronger sense of the groove.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=52cdb3af-2a0c-4498-ac97-b43f015f57d0The decision to start with just the right hand reflects a scaffolded learning approach, where the difficulty is built up gradually. This tries to reduce cognitive overload as we tend to cram a lot in these small sessions so working through steps could help to gain confidence before combining both hands in the end.
Independent Practice and Skill Development
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=046de4f1-1523-4f91-93aa-b43f0160fc5d https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=b0f20d20-fa8f-47a7-ac39-b43f015f266a
An essential aspect of this teaching process was what happened between sessions. Given the limited lesson time, much of Jo’s progress depended on the quality of his independent practice. Developing effective practice habits was therefore as important as the material covered in the sessions themselves. Rather than asking Jo to ‘practise more’, sessions focused on how to practise. Dividing practice into sections, rhythm, technique, and expression, gave a structured framework to follow, and the ten minutes for each section, attempted to make practice feel less daunting. This meant Jo could address the specific areas highlighted in lessons, rather than playing through pieces without targeted improvement.
Jo also had control over his technical work, particularly when he began investigating the minor keys on his own. I Providing chord and scale resources in an accessible format (Pianote, n.d.) supported this exploration, so that when these areas were revisited in lessons, he had already begun to develop them. This kind of self-directed learning reflects the goal of teaching students not just lesson content, but how to learn independently.
Evaluation of Teaching Effectiveness
The effectiveness of the lesson can be seen through the student’s improvement, both within the session itself and across the full 10-week period. Over time, his playing became more confident, his rhythm is more consistent, and his technique more controlled. He was also more willing to try things and respond to feedback, which conveys that he was engaging with the learning process rather than just playing through pieces.
However, there are definitely areas that could be improved. One of the main limitations was time. These lessons were usually part of a shared one-hour session, which meant we only had around 30 minutes. Because of this, it was difficult to go into real depth with certain ideas, and sometimes it felt like we had to move on quite quickly to cover all intended content. Thankfully, Jo was quite good with his independent practicing as a lot of the progress relied heavily on that, rather than having a more balanced mix of teacher support and guided work in the session.
Differentiation and Adaptability
An important part of the lesson’s effectiveness was the ability to adapt teaching to suit the student. He was already around a Grade 5 standard, however, he was a bit rusty, so the lessons needed to be adjusted rather than taught at full difficulty straight away. Having moments where we could test and refresh his past knowledge seemed to boost the process, hence, why strategies like focusing on just the right hand in Superstition and slowing down scales were used, as they made the material more manageable and allowed him to rebuild control and confidence.
There was also a strong element of responding in real time. If something wasn’t working, such as rhythm or coordination, more time was spent on it rather than sticking rigidly to the lesson plans. This links to formative teaching, where decisions are based on what the student needs in the moment. This kind of flexibility is especially important in one-to-one teaching, as it allows lessons to be shaped entirely around the student, helping them progress at a pace that works for them. Another area to improve would be encouraging more reflection from the student. While I did ask some questions, I could have pushed this further to help him think more about what was working and why. Overall, the teaching felt effective, but with more time, adapting the lessons in real time would not have impacted the lesson plans and content as much.
Reflection on Lesson Development
As the lessons went on, the planning became more focused. The first lesson was mainly about getting to know each other and figuring out his level. In the second lesson, we started introducing more structured technical work and began working on Superstition, which helped keep things engaging. By the third lesson, which is the main one shown in the videos, the structure was more developed, with a clearer focus on technique, rhythm, and expression. The fourth lesson then built on this by introducing new technical ideas like contrary motion scales and arpeggios, showing a step up in difficulty and putting other techniques into new practice.
In the fifth lesson, we started looking at Liebesträume No. 3 by Franz Liszt, so he could continue working on it and we can have a look as we continue lessons outside this process. All together, the planning became more specific over time, but still stayed flexible enough to try to suit the student’s development.
Conclusion
Overall, These lessons show how important it is to make clear and intentional teaching choices, where every activity has a purpose behind it due to time constraints. By using a mix of different approaches, including Dalcroze, Enactive Learning, and ideas from the Motivation Theory, the lesson was able to support both technical improvement and musical understanding in a balanced way. Rather than focusing on just one area, the lesson aimed to connect a myriad of ideas so the student could develop more as a musician.
Over the five weeks, the student showed clear progress. His playing became more controlled, his rhythm was more stable, and he started to play in a way that felt more natural and musical. This suggests that the strategies used in the lessons, particularly breaking things down, using movement, and encouraging active participation, were effective. The student’s progress highlights the value of multi-sensory learning, structured practice strategies, and a supportive learning environment, as these all helped him stay engaged and improve consistently.
That said, there are still areas I could improve. At times, I could have spent longer on fewer tasks to go into more depth, rather than covering multiple ideas quickly. I could also encourage more reflection from the student, helping him think more about his own learning. It’s clear that the lessons were successful, but there is still room to refine and develop my teaching approach further.
Bibliography:
Bruner, J. (1966) Toward a Theory of Instruction. Cambridge, MA: Harvard University Press. Available at: https://openlibrary.org/works/OL13356727W/Toward_a_theory_of_instruction
Copland, A. (1939) What to Listen for in Music. New York: McGraw-Hill. Available at: https://wvw.zlibrary.to/dl/copland-what-to-listen-for-in-music
Dalcroze, É. (1921) Rhythm, Music and Education. London: Dalcroze Society. Available at: https://archive.org/download/rhythmmusiceduca00jaquiala/rhythmmusiceduca 00jaquiala.pdf
Deci, E.L. and Ryan, R.M. (1985) Intrinsic Motivation and Self-Determination in Human Behavior. New York: Plenum. Available at: https://selfdeterminationtheory.org/SDT/documents/1985_DeciRyan.pdf
Ericsson, K.A. (1993) ‘The role of deliberate practice in the acquisition of expert performance’, Psychological Review, 100(3), pp. 363–406. Available at: https://graphics8.nytimes.com/images/blogs/freakonomics/pdf/DeliberatePract ice(PsychologicalReview).pdf
Kodály, Z. (1974) The Selected Writings of Zoltán Kodály. London: Boosey & Hawkes. Available at: https://archive.org/details/selectedwritings00koda
London College of Music (2018) Piano Handbook Grade 5. Available at: https://www.worldofbooks.com/en-gb/products/london-college-of-music-pianohandbook-2018-2020-grade-5-book-london-college-of-music-examin9790570121809 London College of Music (2021) Piano Handbook Grade 6. Available at: https://www.amazon.co.uk/London-College-Music-Handbook-2021-2024/dp/ B09LGRPW4C
Pianote (n.d.) Chords and Scales Guide. Available at: https://pianote.s3.amazonaws.com/Chords-and-Scales-Guide-Digital/Pianochords-scales-Centered-Full.pdf
Trinity College London (n.d.) Rock & Pop Guitar Resources. Available at: https://store.trinitycollege.com/pages/rock-pop-guitar
Yamaha (n.d.) How to play Liebesträume No. 3. Available at: https://faq.yamaha.com/usa/s/article/U0008088
YouTube (n.d.a) Piano technical work tutorial. Available at: https://www.youtube.com/watch?v=rXC7CJgTeYY
YouTube (n.d.b) Superstition backing track/tutorial. Available at: https://www.youtube.com/watch?v=0CFuCYNx-1g
