Lessons With Shana

When I first started teaching piano, I assumed a good lesson meant spending most of the time working through pieces.

Of course, repertoire matters. However, over time, I realized that strong pianists are not built by simply playing repertoire for 45 minutes every week.

Instead, they are built through a thoughtful balance of:

• technique
• repertoire
• musicianship
• performance skills
• practice strategies

A 45-minute piano lesson gives you enough time to go deeper than a quick check-in. At the same time, it still needs structure. Without a plan, it is easy to spend the whole lesson fixing notes in one piece while skipping the skills that actually help students become more independent musicians.

So, here is how I usually structure a 45-minute piano lesson.

0–5 Minutes: Technique

I like to start with technique because it helps students physically and mentally settle into the lesson.

This might include:

• scales
• chords
• cadences
• finger exercises
• pattern work

For younger or beginner students, this part of the lesson might be very short and simple. By contrast, for more advanced students, it can become a more focused technical routine.

Rather than racing through every scale a student knows, I want this part of the lesson to build coordination, control, fluency, and healthy playing habits.

In addition, technique time is a great place to address things like:

• curved fingers
• relaxed wrists
• arm weight
• even tone
• articulation
• hand position
• smooth thumb crossings

Starting with technique sets the tone for the rest of the lesson. It also reminds students that how they play matters just as much as what they play.

If you are looking for ready-to-use piano technique activities, this is where my Piano Technique Bundle fits beautifully into a weekly lesson routine. I also have companion YouTube videos that students can use at home to reinforce the same skills between lessons.

5–15 Minutes: Repertoire Review

After technique, I usually move into repertoire review.

At this stage, we revisit pieces the student has already been practicing. I use this time to reinforce concepts, check practice progress, and fix problem spots before they become long-term habits.

This part of the lesson might include:

• listening to the student play through a section
• checking rhythm and notes
• reviewing fingering
• isolating tricky measures
• reinforcing previous corrections
• asking the student what felt easier or harder this week

However, I try not to let this become 10 minutes of interrupting every two bars.

Instead, I want to see what the student can do independently first. Then, we can zoom in.

Some questions I might ask are:

• What part felt most secure this week?
• Where did your hands feel unsure?
• What did you notice about the rhythm in this section?
• Can you find the spot where the pattern changes?

That approach keeps the student actively thinking rather than waiting for me to tell them everything.

Repertoire review is not just about polishing old music. More importantly, it helps students learn how to practice, how to listen, and how to solve problems.

15–25 Minutes: New Piece

Around the middle of the lesson, I like to introduce or continue work on a newer piece.

This is often where students need the most support, because they are dealing with unfamiliar notes, rhythms, patterns, hand positions, and musical ideas.

When starting a new piece, I might guide students through:

• note reading
• rhythm reading
• fingering
• hand position
• patterns
• form
• tricky spots
• expressive markings

Rather than sending students home with a piece that feels mysterious, I want them to leave knowing exactly how to begin practicing it.

Sometimes that means we only work on the first line, and that is perfectly fine.

A student does not need to play the entire piece in the lesson for the lesson to be successful. Instead, the real goal is for them to understand how to approach the piece.

For beginner students, I might ask:

• Can you find all the steps and skips?
• Which hand starts?
• What note does your thumb begin on?
• Can we clap the rhythm before we play it?

Meanwhile, for intermediate students, I might ask:

• What key are we in?
• Where does this pattern repeat?
• What chord shape do you see here?
• How would you divide this into practice sections?

In other words, this part of the lesson models the thinking process students should eventually use on their own.

25–35 Minutes: Musicianship

This is the part of the lesson that is easiest to skip. However, it is also one of the most important.

Musicianship is where students become more than just note-players.

Depending on the student, this part of the lesson might include:

• theory
• ear training
• sight reading
• improvisation
• rhythm work
• chord recognition
• interval work
• transposition
• lead sheet reading
• creative activities

Even five to ten minutes of musicianship can make a huge difference over time.

For a younger student, this might look like clapping rhythm cards, identifying steps and skips, or creating a short melody on black keys. For an intermediate student, it might look like playing I–IV–V chords in a key, identifying intervals by ear, sight reading a short excerpt, or improvising over a simple chord progression.

As a result, lessons become more creative, flexible, and well-rounded.

Not every student needs the exact same musicianship activity every week. Some students need more rhythm support, while others need stronger note reading. Still others need theory reinforcement or help connecting chords to the music they are already playing.

The key is to make musicianship a regular part of the lesson instead of treating it like an optional extra.

35–40 Minutes: Performance Practice

Near the end of the lesson, I like to include some kind of performance practice.

This does not always mean a formal performance. It can be as simple as asking the student to play through a piece or section without stopping.

This helps students practice:

• playing through mistakes
• staying focused
• keeping a steady tempo
• communicating expression
• building confidence
• preparing for recitals, exams, festivals, or recordings

Sometimes I call this a “mini performance” or a “practice performance.”

The goal is not perfection. The goal is to help students experience what it feels like to keep going.

During regular lesson work, we stop often. We fix details. We repeat small sections. That is important.

But students also need opportunities to play through music from beginning to end. Otherwise, they can become very good at stopping and correcting, but less confident when they need to perform.

This part of the lesson helps students develop musical stamina and confidence.

For some students, I might say:

“Let’s do a no-stopping play-through.”

“Pretend this is your recital performance.”

“Your goal is to keep the beat no matter what.”

“Think about expression, not just notes.”

This is a small part of the lesson, but it can make a big difference in how students feel about performing.

40–45 Minutes: Practice Plan

The last five minutes of the lesson are for the practice plan.

I do not like ending a lesson with a vague “practice this for next week.”

Students need to know what to practice and how to practice it.

A strong practice plan might include:

• clear weekly goals
• specific sections to work on
• practice strategies
• questions to think about
• reminders about fingering, rhythm, or technique
• one or two priority spots

For example, instead of saying:

“Practice your piece this week.”

I might write:

“Practice measures 9–16 hands separately first. Clap the rhythm before playing. Watch the LH fingering in measure 12. Goal: play slowly with steady rhythm by next lesson.”

That kind of instruction is much more useful.

The practice plan is where students learn how to work independently at home. It also helps parents understand what should happen between lessons, especially for younger students.

This final part of the lesson is not just housekeeping. It is one of the most important parts of the whole lesson.

Strong Pianists Are Not Built by Playing Repertoire for 45 Minutes

One of the biggest shifts I have made in my teaching is realizing that piano lessons should not be only about getting through pieces.

Strong pianists are built through:

• technique
• repertoire
• musicianship
• performance skills

Repertoire is important, of course. Students need music they enjoy. They need pieces that motivate them. They need the satisfaction of finishing songs.

But if the whole lesson becomes repertoire only, students may miss the skills that make them independent.

Technique helps them play with control.

Musicianship helps them understand what they are playing.

Performance practice helps them build confidence.

Practice planning helps them know what to do at home.

When all of those pieces work together, students become stronger, more capable musicians.

A 45-Minute Piano Lesson Structure

Here is the basic structure again:

0–5 minutes: Technique
Scales, chords, cadences, exercises, and healthy playing habits.

5–15 minutes: Repertoire Review
Reinforce concepts, check practice progress, and fix problem spots.

15–25 minutes: New Piece
Work on note reading, rhythm, fingering, and new musical material.

25–35 minutes: Musicianship
Theory, ear training, sight reading, improvisation, rhythm, or creative work.

35–40 minutes: Performance Practice
Play-throughs, mock performances, expression, confidence, and stamina.

40–45 minutes: Practice Plan
Clear weekly goals, practice strategies, questions, and priorities.

This structure is flexible. Some weeks, a student may need more time on technique. Other weeks, repertoire may take longer. Before a recital, performance practice might become a bigger focus. Before an exam, sight reading and theory might need more attention.

But having a general structure helps make sure the lesson stays balanced.

Resources for Piano Teachers

If you are a piano teacher looking for resources to support this kind of lesson structure, you may find these helpful:

Piano Technique Bundle
This resource gives students structured technical work that can be used during the first part of the lesson or assigned for home practice. It also pairs well with my companion YouTube videos, so students can review technique concepts between lessons.

Companion YouTube Videos
These videos are helpful for reinforcing technique, musicianship, and practice concepts outside the lesson. They can be especially useful for students who need a visual reminder at home.

5 Easy Christmas Piano Songs for Beginner Students
Seasonal repertoire is a great way to keep students motivated. My easy piano Christmas carols are designed to be accessible, musical, and useful for lessons, home practice, or holiday performances.

Final Thoughts

A 45-minute piano lesson gives you enough time to build a well-rounded musician — but only if the lesson is structured with intention.

Students need time to review repertoire, learn new music, build technique, strengthen musicianship, practice performing, and leave with a clear plan.

The goal is not to squeeze in as many activities as possible.

The goal is to help students become confident, independent musicians who know how to read, listen, practice, problem-solve, and perform.

That is what strong piano teaching is really about.