TopMusic On Special Needs Teaching

Module 1: What is “Neurodivergent?
” A Diagnoses Breakdown
What is meant by the term “neurodivergent”?
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Page 1 | TopMusic on Neurodivergent Teaching

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The Neurodiversity Movement

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Should I ask about a student’s diagnosis?

Should I refer to students as “high functioning/low functioning”?
Differences from “neurotypical” students that you might see in piano lessons:
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Module 2: Quick Win: Presuming Competence

TopMusic on Neurodivergent Teaching
Handout 2.2
Module 2: Quick Win: Presuming Competence
Presume Competence
● Assume the student is aware and able to understand, even if they don’t show this to you in a way that YOU can
understand.
○ This might sound obvious, but when working with neurodiverse students, it can be easy to
underestimate them both consciously and subconsciously, which causes you to relate to them in a way
that doesn’t presume competence.
● Assume the student knows when they are being spoken to and spoken about.
○ Don’t discuss the student in their presence as if they are not there.
○ Don’t say things in front of the student that you wouldn’t want them to hear or wouldn’t say in front of
them if they were neurotypical.
○ If a parent wants to discuss the student beyond basic home practice instructions, have them email
you or set up a call.
● Speak to the student in age-appropriate language and in the same way that you would to a non-special
needs student of the same age.
○ Speak in full sentences. Don’t use short, patronizing phrases like “QUIET HANDS” or “EYES
LOOKING”.
● Give access to age-appropriate learning material (i.e., don’t assign/sing nursery rhymes to a 12 year old, be
aware of “childish” illustrations in method books for older students)
● If expectations are not met, do not assume that the student is being manipulative or just needs to “try harder.”
It is critical to presume competence by default. Not doing so means presuming INcompetence. It can affect students’
self-esteem, behavior, interest, and frustration levels if they do not feel respected.
● https://emmashopebook.com/2013/03/07/presume-competence-what-does-that-mean-exactly/
Modify your expectations of “good behavior”

Remember: Your job is to teach piano, not to judge or modify behavior.
● Allow “Stimming”: Stimming is self-stimulatory behavior that typically involves repetitive movement or
sound. We all do this - clicking a pen when thinking, biting nails when nervous, etc. People with autism and
sensory processing issues might do it in ways that you’ve never seen, such as: flapping hands, jumping up and
down, singing/humming/repeating phrases, wiggling fingers, or rocking. Stimming is adaptive and self-
regulatory. It is used for emotional regulation, tension relief, increasing focus, and sensory regulation. When
over- or under-stimulated, it’s a familiar sensation to anchor oneself. Autistic individuals report that being
prevented from stimming ranges from uncomfortable to excruciating.
○ Do not: Unless the stim is harmful to the student or others, do not prevent them from doing it. Do not
say “quiet hands” or physically stop them from stimming. Do not “wait until they are still” before you
start to teach.
○ Do: Proceed with instruction while the student is stimming. If they stim with their hands while trying
to play piano, have them play short excerpts of the piece with short breaks to stim in between.
Stimming while playing piano will likely decrease over time as the student becomes more comfortable
Handout 2.2
with you and confident at the piano. You can allow vocal stims while you are instructing or while your
student is playing. Autistic individuals are capable of paying attention to other things while they are
stimming.
○ Do: Offer breaks for the student to stim. Have “fidgets” (see Module 3) available in between songs to
stim on.
● Don’t wait until the student “seems” to be paying attention. You may need to reconsider your ideas of
“readiness” and “good behavior” (i.e. sitting still, making eye contact with you, being quiet). This does not mean
that you have to lower your standards. It means that you have an understanding of your students’ needs and
are able to reframe and accommodate different learning styles.
● Don’t Force Eye Contact: Many students with sensory integration issues find it to be painfully intense or have
difficulty concentrating on what is being said if they are making eye contact. Countless autistic individuals
report being able to pay attention perfectly well, or even better, without eye contact. It may take some getting
used to on your part, but making it an issue during lessons will most likely waste time and cause unnecessary
stress for your students.
● Factor in social/communication differences: Students may have a genuine difficulty when it comes to
speech initiation or production. For students that don’t speak verbally or speak very little, keep in mind that
this is not an issue of disobedience or refusal. They may be unable to produce speech at that moment. For
neurodiverse students that do speak verbally, remember that they often have difficulty interpreting social cues
and understanding nuances such as sarcasm and idioms. They can be very literal and may seem blunt, rude, or
disinterested without meaning to. Be ready for anything when it comes to students’ verbal communication, and
don’t take anything personally. If a student says something that seems rude or outlandish to you, just move
on.
Communicate Concisely and Respectfully

● Give direct instructions instead of asking open-ended questions. For example:
○ “Play page 3” instead of “Can you please play page 3 now?”
○ You may think you’re being polite by adding the extra words, when in reality you’re confusing the
student. As a practice, start taking note of every instruction you give to your students (even your
neurotypical students) and think of how you can transform it into an instruction or question that
doesn’t require a verbal response. You can do this with almost anything you say!
● Provide opportunities to answer in nonverbal ways. For example:

○ “Point to the song you’d like to play” instead of “which song would you like to play next?”
○ “Play this note on the piano” instead of “what note is that?”.
○ This works beautifully with ear training, as you can play something and have students echo it on the
piano, all without speaking. You can use phrases like “show me” or “please play” or “be my
echo/copycat”
● Allow extra time for processing and responding
● Again, speak to the student with age-appropriate language. If you want your student to respect you, speak to
them as a respected, competent individual and don’t patronize them by using a loud, sing-songy voice, using
short phrases such as “EYES LOOKING,” or repeating yourself constantly. Even if parents speak like this, you
don’t have to. Speak to your students in complete, though concise, sentences.

Handout 3
Module 3: Environmental Accommodations

Another way to proactively set your students up for success is by modifying the teaching environment.
You’ll want to make it sensory friendly, set a calm tone, provide structure, and plan ahead.
A. Your Sensory-Friendly Studio

Your student most likely experiences the world completely differently than you. Sensations that you may not even
notice, like the scent of your lotion or the buzzing of a fluorescent light, may be overpowering to your student. We can
and should modify our studios to mitigate sensory overload. Consider making the following your “default” teaching
conditions:
Lighting
Avoid bright lights, especially fluorescent ones - they buzz and flicker.
Utilize natural lighting if it’s available. Just be sure to have shades or curtains to draw in case
your student needs a dimmer environment.
Instead of bright, harsh overhead lights, get a few lamps and space them throughout the room.
You can turn some or all of them off to help with sensory overload and provide a calming
environment.
If your room has fluorescent lights, you can cover them with something like this:
Clutter
Keep the space neat and organized with minimal clutter. Clutter is not only distracting but can also be very tempting
for students to explore when you’re trying to teach.
Whenever possible, put books and objects in drawers or cabinets instead of on open bookshelves. You can cover these
with a curtain attached by velcro if you don’t want to buy new furniture.

Handout 3
Sound
Do as much as is within your control to limit distracting sounds in the teaching space. Eliminate
even seemingly imperceptible sounds such as the hum of electrical appliances or fans (unless
necessary for temperature control).
Be prepared to play and speak softly if necessary.
Have headphones available for sound-sensitive students:
Smells
Use “unscented” everything! Don’t wear perfume or cologne. Students with sensory issues can be highly sensitive to
smell. If you teach from home, try not to cook aromatic foods around your student’s lesson time. If you have to do so,
warn them before they come inside that they might smell dinner cooking.
Safety
As a way of understanding the environment, some students may pick up items, move them around, drop them, push
them, etc. Make sure there is nothing that can tip over easily; or if it can, make sure that it won’t break or hurt someone
if it falls on them.
Some students also like to climb. Be aware that a student might try to stand on the bench, on top of the piano, or on
other climbable furniture, and be ready to stop them before they can do that.
Property
If you have something valuable or prized, keep it somewhere out of sight. Students may be unable to stop themselves
from handling objects that they find interesting in a way that can break or damage them.
Fidgets
Fidgets, also known as sensory toys or stimmy toys, are objects that provide sensory input and feedback when used.
They can provide sensory stimulation and be calming to students experiencing overwhelm. Keep a bucket or box of
fidgets, and offer it to your students when they arrive, on breaks, or when they seem “stimmy.” You can also keep a
fidget on the piano or bench for students to use while they play.
Fidgets are an indispensable accommodation that you should provide in your studio. Many students need to stim, so
giving them an outlet to do so is healthy and necessary.

Handout 3
Here are some ideas for fidgets and stimmy toys:
Koosh Balls: Colored scarves:
Spiky Silicone Sponge Spiky Slap Bracelets:
Stretchy Noodles: “Grassy” or otherwise textured bath mat/sensory mat.

This can go on the bench or underneath students’ feet
while playing:
*Click on the photos for links to the items on amazon

Handout 3
Movement opportunities
Give your students opportunities for movement. Some students literally require this in order to learn. Here are some
ideas for movement opportunities:
Theraband wrapped around the legs of the piano bench to keep feet occupied:
Exercise ball to bounce on during breaks or even use for creative instruction:
Make sure to provide the usual postural accommodations - have an adjustable bench and a box for the feet of smaller
students.
B. Setting the tone

Your students may be incredibly sensitive to your mood and tone of voice.
Always emulate how you want your student to act/sound, not how they actually act/sound.
● For example, if a student is stimming loudly or having a tantrum, don’t raise your voice to be heard over them.
Keep your voice quiet, friendly, reassuring, and steady. Maintain composure even if your student is having an
emotional response. This goes a long way in de-escalating rather than adding fuel to the fire.

Handout 3
C. Lesson Flow Tools
Schedules Tips for successful

● Many students with special needs are accustomed to working schedule making
on a rigid schedule. They often have their day entirely
planned out. They may feel uneasy if they don’t know what to 1. Start by making your schedules
expect, what comes next, and how long they will be expected more general so that you can
to work on each activity. stretch or skip activities as needed.
● A schedule can provide much-needed structure and offer For example:
students agency in what they learn at the lesson. a. Improvise
● Use a small white board and create the schedule with the b. Lesson Book
student at the start of the lesson. If you already have the c. Ear Training
agenda in your head, you can say each activity aloud as you d. Singing
write it on the schedule in list form. If you want the student e. Composing
to decide on the order activities, you can give two choices at a
time, writing down each choice in a list. 2. Cross off each item on the schedule
● Sometimes, simply reassuring a student that this activity as you complete it. Even better if
does indeed have an end can help them feel calmer. You can you can have the student cross it
say “you’re almost done with [activity], then we will do off.
[activity].
● If students ask how much longer they have or what the next 3. A student may take this schedule
activity is, you can refer them to the schedule or answer just very literally and think they are
once, but don’t repeat this information several times. Some done as soon as they, for example,
students become obsessed with the schedule to a point that play one song in the lesson book. If
is counterproductive. you plan to have them play more
than one song from the lesson book,
specify this on the schedule. You
can also add boxes next to any of
Example Schedules:
the items and check each one off as
the student completes the desired
repetitions/sub-activities
4. At first, add more activities than you

think you’ll need. It’s much better
to plan for too much than too little.
5. Stick to the schedule no matter

what! If a student ends up not
responding well to an activity, have
them do it quickly and then move
on.
6. Have a few go-to backup activities

that you can try with a student in
case they are just having a bad day.
Black key improv, movement and
music activities, and singalongs
with instruments work well for this.

Handout 3
Breaks
For students who are younger, newer to piano, and/or have a hard time sitting at the piano, you may want to include
one or more breaks on your schedule.
● New students tend to need more breaks than students who are familiar with you and the lesson structure.
● For newer students, you can offer a break after every activity.
● It’s best to decide on a consistent amount of time for the break, such as one minute, and use a timer visible to
the student to enforce the time limit.
● As students become able to concentrate for longer periods, you might include just one break in the middle of
the lesson, or none at all.
● During breaks, leave your students alone (as best you can). Offer fidgets and/or movement opportunities, but
don’t try to engage them in singing or answering questions. Let it be a real break!
Timers
For new or very rigid students, you can include time periods on the schedule that you create at the beginning of the
lesson. For example:
● “First we will make up a song for 3 minutes; next is the Lesson Book for 5 minutes; then a break for 1 minute”
● Note: timers may be great for some students and counterproductive for others. Some students become
extremely attached to the visual aspect of the timer or be unable to engage in any activities except when using
a timer. For these students, just a schedule (so you can remind them what comes next but not refer to the
time) or checkboxes.
Checkboxes
● Use these when students are reluctant to repeat anything at all or have a shorter attention span.
● On your schedule (or at the top of whichever sheet they are playing from), draw a row of boxes. Each time they
complete the song/section/activity, check one of the boxes. This way they have a visual representation of the
work involved.

Handout 4.1
Module 4: Perfect Pitch – Your Student Probably Has It
What is perfect pitch and why does it matter?

Perfect pitch is a critical element at play when teaching students with special needs.
Perfect pitch, or absolute pitch (AP), is the ability to identify the absolute frequency of a pitch without any external
sources of reference. There seems to be a spectrum of perfect pitch ability - some people have a profound ability to
name, match, and generate any pitch on any instrument in any context, while some might only be able to recognize
some pitches, sometimes, on some instruments.
In the U.S. and Europe, only about 1 in 10,000 people have perfect pitch. This number is slightly higher in people that
speak a tonal language. However, it’s still considered a fairly rare trait, and one that is either present from birth or not.
Many studies have found a much higher prevalence of perfect pitch among those with autism, Williams syndrome, and
other sensory processing disorders than among the general population.
The exact prevalence is difficult to confirm or demonstrate through typical scientific research, since many individuals
with autism have poor verbal communication skills or motor control - the modes by which AP is typically assessed.
Sometimes it’s immediately obvious when a student has AP. When it’s not, such as when a student isn’t simply able to
name notes (due to speech difficulties) or copy melodies (due to motor difficulties), there are several ways to tell, often
over time, whether they have AP.
Either way, it’s best to assume your new student with special needs has AP and teach with that in mind. If you’re
wrong and they don’t have AP, it does no damage to their musical development. If they do have AP and you don’t teach
them as such, you will hamper their ability to ever read music, thus shutting them off from a world of musical
opportunities.
Teaching note-reading to AP students is different than teaching non-AP students. This applies to any student, special
needs or not. When students have perfect pitch, they instantly memorize whatever they hear. The music is seared into
their brains like a recording. They may not be able to analyze any of the elements of the music (yet), but they could
likely reproduce it perfectly if you sit them in front of a piano.
When teaching a student with AP to sight read:
• You must never play, sing, hum, or audibly reproduce a melody

that they are attempting to sight read
• You must engage them immediately with interesting yet
approachable songs in a visual format that is easy to
understand, so that they can instantly begin pairing the sounds
in their heads with movements of their fingers and letters
on the page

Handout 4.1
“Why do you start with sight reading? Shouldn’t you build musicality first?”
The aural progression and development you strive for in neurotypical, non-AP students is already there in students
with AP - or at least, the raw material is there. They will devour and instantly, eternally memorize any sound-based
theory concept that comes along. Especially for students with poor motor skills, it is critical to get them started
reading letters from day one in a single-hand position that uses all 5 fingers (more on this in Module 5).
Though most would agree it isn’t ideal to start a student with sight reading on the first lesson, it becomes necessary
when starting an AP student that has sensory processing differences and/or motor challenges.
When students struggle with purposeful movement, they need an

anchor to get them playing.
Playing games or giving verbal/auditory instructions and waiting for a

response is often too abstract in the beginning.
A visual prompt anchors them to the song by pairing what they hear
with what they see and how it feels to play.

Handout 4.2
Module 4: Perfect Pitch – Your Student Probably Has It
How to tell if your student has perfect pitch

Here are some ways to tell if your student has perfect pitch, in order from most to least obvious. Keep in mind that
some students may not be able to execute these actions before some musical training. Often, students have unreliable
speech and motor skills so that they cannot produce a desired response on command.
1. You play a note on the piano, say “do you know what note this is?”, and they answer correctly. (Note: most
students will come to you with some type of exposure to the musical alphabet, but some may not know that
each pitch is assigned a letter. If this is the case, you can mention it briefly, and they will remember it forever).
2. While they are looking away, you play any key on the piano, say “copy me”, and they play the same key. They do
this accurately every time or most of the time.
3. The student hums or sings in perfect intonation spontaneously and often. Singing in perfect intonation is an
especially powerful sign of perfect pitch if the student has had no previous musical instruction.
4. The student always hums or sings in the same key, as if it’s the key to which they are “tuned.”
5. The student hears a snippet of music and spontaneously plays/sings a related piece, i.e., a different piece with
the same motif, chord progression, or rhythm.
6. When picking out a melody by ear, the student plays from start to finish in a frenzy, correcting wrong notes but
not caring what it sounds like to outside ears. They usually have little interest in playing it again to “smooth it
over” once they’ve figured out all the notes.
7. When a student makes a sight reading mistake, they have extreme difficulty starting from where they left off
and feel the need to start from the beginning, as if they need to “start the recording over.”
8. The student mimics voices and accents perfectly.
9. When hearing music in 4/4 time, the student naturally claps/taps/bounces/sways on beats 2 and 4 of a
measure instead of beats 1 and 3 - this is considered to be a sign of musicality in general, but it can indicate
probable perfect pitch when observed in people with no formal musical training.

Handout 5.1
Module 5: Milestone 1
Milestone 1 involves playing with one hand at a time in C position and then G position, using songs written in letters
only (with dashes for holds). Once students can do this, they have developed:
● keyboard awareness (the location of all the keys, plus the logic of the keyboard, as in, Right = up in the
alphabet, left = down in the alphabet)
● 5-finger playing skills
● A sense of rhythm notation (1 letter = 1 beat, 1 letter + “hold” = 2 beats, etc).
We teach them all of this without bogging them down with abstract musical terms (quarter note, staff, etc) at this
stage. We also teach them without gimmicks like colors or rote teaching, as for our current purposes, this only teaches
matching and copying - not note reading. It is supremely important to never play these songs for students before the
students read and play them themselves, since most if not all of these students will have perfect pitch and therefore a
perfect auditory memory.
Overview of the Milestone Method

A foolproof path to sigh-reading success for neurodiverse students
Milestone 1:
Students master one-handed songs in C position and then in G position, first with the RH and then the LH.
Songs are written using letters, with dashes for "holds"
C Position songs: G Position Songs:
Students go through all 20 songs (10 in C position and 10 in G position) with the RH first, then go back through all
songs with the LH.
Further reading: The structure of the Milestone map was adapted from the ideas laid out in the book “Perfect Pitch in
the Key of Autism” by Susan Rancer and Henny Kupferstein.

Handout 5.1
Milestone 2:
Students master playing two hands simultaneously using songs in C position and then in G position.
C Position Songs: G Position Songs:
Milestone 3:
Students transition painlessly to reading notes using the landmark note G (in the treble clef). Songs are written in
standard notation, for RH, in C position.
Transition to method books:

The foundational milestones provide an effortless bridge to a position-based method book such as the Alfred’s Basic
Piano Library series. Level 1A begins in standard notation in C position, then in G position. Further levels branch out
into more positions.

Handout 5.2
Milestone 1
Part One: Single-Hand Songs in C Position
Introducing C position for the RH (can use LH if student is LH dominant).
● If the student is regulated and calm, briefly explain/explore the black key groups and then show them how to
find C.
● If the student is wiggly, anxious, impatient, or reluctant to sit at the bench, skip the black keys explanation.
Counterintuitively, it may be necessary to explain the whole before beginning to break down the parts.
Script for introducing CDEFG
1. Place a whiteboard in front of the student.
2. Say “the white keys on the piano are named after the letters of the alphabet. I know you already know the
alphabet, so you’ll have no problem learning the key names! We’re going to learn a 5-finger hand position,
because you have five fingers and we want to use all of them”
3. Write C on the whiteboard. Take the student’s thumb and put it on C, saying “This is C. For now, your thumb
will be called your C finger.” Help the student play C.
4. Say “If this is C, then the next key is D [write D on the board], and this is your D finger [help them play D with
finger 2]”.
5. Say “If this is C, and this is D, [pointing to keys], then what do you think comes next? C…. D….. [if verbal, can
wait for response] yes, E!” [write E and help them play E with finger 3, calling it their “E finger”]
6. Say “Here we have C, then D, then E, [while helping them play each one] so what’s next? That’s right, F. This is
your F finger [ring finger].”
a. If they have trouble playing finger 4 (or any finger): “It’s normal to feel like it’s a little hard to make
your F finger do what you want it to do, but it will get easier over time.”
7. Say “Alright, so we have C, D, E, F, and..? Of course, G!” [write it on the board and help them play it with finger
5]
8. Say, “Now each of your fingers has a job, and it’s time to play a song.”
9. Show them the first song in the packet. Say, “You already know what all these letters are. Every time you see a
dash, that means “hold”. So, G sounds like this [play a short G], and “G hold” sounds like this [play a G for two
beats while saying “G hold”]
10. “Let’s play this song!” Count them in by chanting, “1, 2, rea-dy, and”….

Handout 5.2
Go through at least the first song. If motor skills are a challenge, just play the first song 2-3 times and possibly move
on to the second. If these songs are easy, let them move along and play as many as they’d like. Insist on correct
fingering and help them keep a steady beat from the beginning.
You can aid the student in this as much as they need by using hand-under-hand support, “counting them in” with a slow
steady beat before they start, and pointing out the holds if they are missed.
Key points:
○ Introduce C-G all at once
○ Use a conversational tone, avoiding baby talk
○ Refer to fingers as “C finger, D finger, etc”
○ Give effective hand-under-hand support
○ Always count the student in with a slow, steady beat before they
start. If they pause in the middle of a song, count them in again and
start from where they left off.
○ Always point to the note that they should be playing
○ Do NOT hum, sing, or say the letter names.
For auditory in addition to visual prompting, tap on the music gently with
your finger/pointer and say (gently) “look up here” or “next.” Again, never
say the next letter on the page or sing the pitches.
Addressing Common Mistakes
What to do if a student…
● Looks away from the page often - let them, and then gently prompt them by saying “next” or “look up here”
while tapping the next note on the page. Don’t get frustrated with them. They most likely are experiencing very
real visual fatigue.
● Plays the correct note with the wrong finger -

○ Hold one of your hands underneath their hand in such a way that you can prevent the student from
using the wrong finger.
○ If it happens anyway, say “oh, you just used your [E] finger, what finger should you use instead?” and
point to the note
● Plays the wrong note - move your finger/pointer one note back, to the previous note that they played correctly.
Then say “great, you just played [C], now what’s next?” and move your finger/pointer back to the note in
question. Only move on when they’ve played it correctly.

Handout 5.3
Milestone 1
Facilitating Motor Skills Development through Hand Support
Hand under hand (HUH) support:
● Your HUH support (and that of the parent while practicing at home) will make or break a student’s progress if
they have fine motor challenges.
● Remember (and tell parents) that you are there to make sure they don’t play the wrong thing, not to
make them play the right thing. You will do this by keeping your hand under the student’s hand and offering
resistance if they try to push down the wrong finger.
● You should not put your fingers over the top of a student’s fingers and push down for them.
● If a student has trouble initiating any kind of finger movement at all over the keys, do this: While holding your
hand underneath their hand, offer resistance on all of their fingers (by pushing up) except the one that is
expected to play. You can then lift the student’s hand slightly and let go slightly, helping them drop by the
weight of their hand into the target finger.
If supported this way, over time, the student’s fine skills will improve. You’ll be able to move your supporting hand
from underneath their hand to their wrist, then to their forearm, then their elbow, their shoulder, and finally let go. This
progression may take a week or it may take years. There is no need to rush.

Handout 5.3
Supporting “holds”:
Assume your student understands what a hold means once you’ve explained it to them and demonstrated how it
sounds. If they don’t execute the holds themselves, it’s because of motor challenges.
In this case, when you come up to a note with a hold, let them try it. If they just play the note without the hold, say,
“Right, this is [G], but it has a hold next to it. That means it sounds like this: [take their finger and push it down while
chanting] “G HOLD”. Let’s try it again together. [do it twice more]. “Now you try.” Let them try once more. If they still
have trouble, say “don’t worry about it, that will get easier when you practice.” Just make sure the parent understands
what a “hold” is so they can work on it at home.
Advanced support technique:
The best way to facilitate a student learning to “hold” on their own is this: when you come up to a note with a hold (for
example, “E - “), let them push down the E on their own, then quickly hold their E finger down while chanting “hold”.
This way they initiate the movement (important), and you help them follow through and hold it.
How to sit while the student plays:
Try sitting perpendicular to the bench on one side. This way, you can use one of your hands to support underneath the
student’s hand and your other hand to point to each note on the page, all without breaking your back! Use a pointer or a
pencil to point along so you don’t have to bend forward the whole time.

Handout 5.4
Milestone 1
Part Two: Single-Hand Songs in G Position

Once students have made it through all of the C position songs with the RH, it’s time to introduce G position.
Script for introducing GABCD
1. Place a white board in front of the student. Say [while writing] “You already know the keys C, D, E, F, and G.”
2. The whole musical alphabet includes a few more letters. It goes [while writing] A, B, C, D, E, F, G, and then it
starts over again at A [write another octave immediately after G].

Handout 5.4
3. Draw a line under the notes CDEFG and say, “This is C position. Now what happens if we take your C finger, and
turn it into your G finger? [move their thumb from C to G]
4. Draw another line or a box around the notes GABCD. Say, “That would give us G position. Now your thumb is your
G finger, your pointer is your A finger” etc.. until you get to D.
5. You can add something like, “Don’t let the new songs fool you! Whenever you see G, you might want to play it
with your pinky. Or whenever you see C, you might want to play it with your old C finger. I’ll help you remember
the new job that each finger has.”
Go through the remainder of the G position songs with the same hand that went through the C position songs (probably
the RH).
Go at the student’s pace. If they seem ready for only one song each week, do that. Keep in mind that a lot of students
will be bored by repetition and want to play new material constantly, even if they haven’t “mastered” a song.
Introducing the other hand:

● After the student finishes all of the C position and G position songs with the RH, go back and play through all of
them again with the LH.
● Start back at C position song #1. Explain that they are still playing the same songs in C position, only now it’s
time to play them with the LH. When playing with their LH, the C finger is the pinky. Show them (with hand-
under-hand support if necessary) how to play their C finger, D finger, E finger, F finger, and G finger. Do this on
the octave below middle C.

Handout 5.4
● The student will likely go through the songs more quickly with the LH. Either way, go at the student’s pace,
whether that means assigning a few songs each week or blasting through all of the songs in one lesson.
● If the student has a very easy time with the LH, you can stop after the last C position song and simply skip the
G position LH songs. If the LH is shaky or needs more practice, you can go through all C position and G position
songs with the LH.
Once a student is able to play all of the songs with both RH and LH accurately and independently (or MOSTLY
independently), it’s time to move on to the two-handed songs.

Handout 5.5
Milestone 1
Home Practice
● Tell parents to always start with the newly assigned songs, and then if the student still has stamina and
interest, they can go back and play old songs.
● Encourage them to practice the assigned songs 3 times each, on 5 separate days (or at least 3 days, if 5 is too
lofty of a goal).
● Many students will not want to repeat songs during home practice.
○ If a student doesn’t have motor challenges and can play perfectly through these songs with no
mistakes and a steady beat, you don’t need to insist that they repeat songs during practice.
○ For students with more motor challenges, encourage them to practice each song at least twice, if not
three times, in a row. Explain: “in piano practice, repetition doesn’t mean you’re not doing it right. It’s
just a way for you to help your fingers catch up with your brain.” As time goes on, most students come
to see that “practicing” with some repetition yields them the result they want, which is their fingers
making really cool sounds!
● During the first few lessons, ask the parent to take the student through a few songs during the lesson so you
can help them fine-tune their home support.
● Parents’ instincts during practice are often in direct conflict with what will actually help their children
progress, so it’s important to educate them.
Things to look for are:

○ Proper hand-under-hand support - not pushing down keys for the student in a hand-over-hand way, but
instead preventing the student from pushing down the wrong finger.
○ Verbal prompts should be minimized to “next” or “look up here.” They should never say aloud the note
to be played
○ Parents should point constantly, always being there to guide the students’ eyes back to the right place
if they wander away
○ Parents should understand holds and say “hold” for every dash
Introducing the other hand:
● After the student finishes all of the C position and G position songs with the RH, go back and play through all of
them again with the LH.
● Start back at C position song #1. Explain that they are still playing the same songs in C position, only now it’s
time to play them with the LH. When playing with their LH, the C finger is the pinky. Show them (with hand-
under-hand support if necessary) how to play their C finger, D finger, E finger, F finger, and G finger. Do this on
the octave below middle C.

Handout 5.5
● The student will likely go through the songs more quickly with the LH. Either way, go at the student’s pace,
whether that means assigning a few songs each week or blasting through all of the songs in one lesson.
● If the student has a very easy time with the LH, you can stop after the last C position song and simply skip the
G position LH songs. If the LH is shaky or needs more practice, you can go through all C position and G position
songs with the LH.
Once a student is able to play all of the songs with both RH and LH accurately and independently (or MOSTLY
independently), it’s time to move on to the two-handed songs.

Handout 6.1
Module 6: Milestone 2 – Two-Handed Songs in C and G Positions

The two-handed songs are designed to improve student’s coordination. Once they master all of these songs, they will
be technically capable of playing music well beyond what they will learn to read on the staff at first. This will make the
note-reading process painless.
Introducing Two-Handed Songs:

Let the student know they’ve graduated from one-handed songs. Tell them, “Now it’s time to make the music sound
even more interesting by playing with both hands together.”
1. Show them the first song. Point out that there are two lines to now instead of one. Say “the top line here is for
your RH, and the bottom line is for your LH. Let’s try playing each hand individually and then I’ll show you how
to play them together.”
2. Point while they play the RH part and then the LH part (separately)
3. Say “Now it’s time to play both hands together. [Point to the first beat, which is a RH C on top of a LH C]. You’re
RH has a C... play C. Your LH also has a C... play C. Now, they’re stacked on top of each other, which means you
should play them at exactly the same time. Let’s try that! 1, 2, rea-dy, and, TOGETHER.” Take their hands and
do it for them several times if necessary. After showing them, let them try on their own.
4. If they can do this easily, then you can explain that the LH needs to hold while the RH continues playing.
Note: While normally you should never play anything before your students play it themselves (because of AP), in this
case it’s okay to play the first song so they can understand what it sounds like to have one hand hold while the other
hand plays. If they can coordinate both hands pushing down C at the same time, try the whole first measure. Count
them in, let them play C and C together, then quickly hold their LH C finger (pinky) down while allowing them to play the
rest of the measure with their RH.
“Right Hand, Left Hand, Together”

Your students may have trouble coordinating both hands at first. If this is at all difficult, you can help them ingrain the
mental process for playing with both hands using the process “Right hand, Left hand, Together.”
This does not mean they will play the whole RH line, then the whole LH line, then the whole line together. This means
that every time they come up to two notes stacked on top of each other, they should play the RH note, then the LH note,
then both notes together. They should do this every time they see two notes stacked, which, in the first few songs, will
be the beginning of every measure. Over time, they will start to internalize this process so that they are able to do it for
themselves when confronted with two stacked notes.

Handout 6.1
s
Be firm about the “holds” in the music. If the student can play two notes together independently but has a hard time
holding the LH while the RH plays, hold the LH down for them as they repeat each measure two or three times, then
have them try the measure by themselves. They will be so eager to make that sound that eventually they will begin to
hold on their own.
Note: In Milestone 1, you said “hold” whenever the student arrived at a dash on the page. At this stage, it’s best not to
say “hold” whenever one hand has a hold but the other doesn’t. It can be confusing and lead to the student holding one
hand for the indicated amount of holds, then playing the notes in the other hand, instead of doing these things
simultaneously.
Work through all of the C and G position two-handed songs until the student can play them independently, accurately,
and with a fairly steady pulse (even if you must keep an audible beat for them).
Once students finish these songs, they’re ready to transition to note reading!

Handout 7.1
Module 7: Milestone 3 – The World’s Most Painless Introduction to Note-Reading

After completing Milestones 1 and 2, your student has mastered songs that are technically quite a lot more advanced
than anything they’d learn to play strictly by reading notation at first. By now, they have developed excellent motor
coordination, the skills to play songs by sight, increased keyboard awareness, and knowledge of the “logic” of note
reading (i.e. RH on top, LH on bottom). We know that students have the motor skills, visual skills, concentration skills,
and rhythm skills (i.e. the “language” of music) to begin reading notation. This module will show you exactly how
notation should be introduced.
Milestone 3: Introduction to Notation

At this stage, the priority is not giving them a list of vocabulary words to remember, but rather it is to bridge the sound
and finger movements they’ve learned with functional musical symbols. We can do this using landmark notes.
Script for Introducing Milestone 3:
“Now you know how to play some pretty complicated music with both hands. I have good news for you - we’re going to
go back to playing easy one-handed songs in C position for a while. But instead of using letters like we used to, I’m
going to show you the REAL way that musicians write down notes.”
Show them the first song in the Milestone 3 packet. You will go through all of these songs in one lesson.
1. Say, “Here’s how we write music down. This is called the staff [point to the staff]. It’s where we write the
notes. This is called the “treble clef.” [point to treble clef]. It means “play with your right hand” [This is an
oversimplification, but it’s okay for now]. And this note here is G [point to G]. When you see a black G, or a
“filled-in” G, it just means G. When you see a white G, or an “empty” G, it means G-hold. Go ahead and play this
song!”
2. Tell them to put their RH in C position (or put their hand in C position if you have to). Count them in and point
along to each note. If they miss the first “G hold”, say, “Oh you played G, but that’s actually a G-hold”, and have
them try it again.
3. After they complete the G song, explain a little more about the staff. Say, “Let’s count how many lines make up
the staff. 1, 2, 3, 4, 5 (from the bottom to the top). The note G is on the second line from the bottom. G is the
most important note for you to remember right now. If you ever get lost when reading notes, you will be able
to use G to find your way.”
4. Explain a little more about the treble clef. Say, “This treble clef here, it kind of looks like a big fancy letter. Do
you know which letter it looks like? It’s G! [Draw a fancy capital G that looks sort of like the treble clef]. And
the swirly part of the treble clef, (or the “belly” of the treble clef) wraps around the G line. That’s another way
you can remember where G is.”

Handout 7.1
5. On the next song, trace a line over the G line, protruding to the left of the staff, and write G next to it. Point to
the note F and say, “Notice how this note is right underneath the G line. Which key is right underneath the G
key? F of course! So this note is F.” Point along as they play.
6. Continue this way. On every page, trace a line over the G line and write a G next to it. Always count to the
starting note of the song from the G line. For now, you don’t need to ask them to find the starting note
themselves. Just model the process of finding it.
7. If they make a mistake, just move your pointer back one spot to the previous note that they played correctly
and remind them what it was.
a. For example: “Oh, this one was E. The next note is one spot above E, so what is it?” and let them try it
again. Doing this will help them learn to read side to side instead of by memorizing each note’s position
on the staff.
b. Try to avoid saying “No” or “wrong” when they play a note incorrectly. It’s important not to make note-
reading a stressful matter or a moral battle. Simply show them how to find the correct note.
Assign the whole packet to be practiced over the week. When they come back next week, they’ll be ready to start in the
Alfred’s Basic Piano library series Level 1A.

Handout 7.2
Module 7: Milestone 3 – The World’s Most Painless Introduction to Note-Reading
Introducing Alfred’s Basic Piano Library

I recommend using these books because they start with songs in C position, which supports a seamless transition to
note reading since our student is already used to playing in C position. Then the book moves to G position, which again
corresponds perfectly to what they already know.
Again, position-based playing is not ideal for every student, but it provides the much needed structure for many
students with special needs.
With each student using the Alfred series, you can decide whether to use:
1. Just the Lesson and Recital books - students who move quickly and have little to no motor challenges
2. The Lesson, Recital, and Theory books- students who move at a slightly slower pace and have involved parents
who will do Theory at home with them
3. The Lesson, Recital, Technic, and Theory books - students who move at a slow place and have motor
challenges. They need all the exposure they can get to each new concept, and the concepts are reinforced
across all 4 books each week.
When introducing the new books, start with the Lesson Book, Level 1A.
Week 1: Skip immediately to page 31 in the Lesson Book. There is no need to do the initial pre-reading section of the
book, because teaching note symbols and finger numbers out of context with the music doesn’t make sense for these
students. Page 31 is exactly like the last few songs of the Milestone 3 packet. This week, assign this with the
corresponding pages in the Recital book, as well as the Theory and Technic books, if you are using them.
Week 2: Go backwards one page to introduce the bass clef (Lesson book p. 29). Do this the same way you first
introduced G in the treble clef. Say, “this is another staff with a different symbol called the Bass Clef [point]. The Bass
Clef tells us to play with our left hand. This line here, the second line from the top, is called F. You can also find F
because it nestles between the two dots of the Bass Clef. Okay so the first note in this song is F. Go ahead and play it!”
Again, assign this with the corresponding pages in the Recital book, as well as the Theory and Technic books, if you are
using them.
Week 3: Move forward from here on out. This week assign p. 32 with its corresponding Recital, Theory, and Technic
pages. From now on, lessons will look a lot like “typical” lessons. You’ll explain concepts and then assign songs in the
books to be practiced and move as quickly as your student needs you to.

Handout 7.2
Remember your ways of guiding the student:
● Always point while the student plays

● If the student makes a mistake, simply move your pointer backwards one spot to the previously
played correct note, name that note, and say “what’s next?”
● Always lead the students to a note name by counting from the G line (treble clef) or the F line (bass
clef)
● Never sing or say the desired note name aloud. You can only say aloud what the student has already
played.
Bridging the known with the unknown:
Try to teach new concepts by relating the known (for example, “G hold”) to the unknown (“half note”). When helping a
student with rhythm, try to use terms with which the student is already familiar.
● For example: When pointing to a new symbol like a dotted half note in a song, say, “This note is G hold
hold”. When you feel the student is ready, you can teach note names by saying, “This is a dotted half
note. That just means G hold hold. A dotted half note is 3 beats [say aloud “G hold hold” while counting
with your fingers or making 3 marks on a white board].
● Another example: When introducing the RH G position in the Lesson Book, say, “You already know that
in the treble clef, the second line from the bottom is G [point]. You also know that the note right
underneath the G line is F [point]. So what do you think the note on TOP of G is?? [point]. Of course, it’s
A!”
When you get to G position in Alfred Lesson book p. ____, you can start using “the bottom line in the bass clef” as your
landmark note for the LH.
Congratulations, your student knows how to read notes! Now you can teach the student in full confidence that they
have the purposeful movement, keyboard awareness, and visual control to succeed at sight reading.

Handout 8.1
Module 8: Supplemental and Free Time Activities – Ear Training

Working through the Milestones and method books will lay the foundation for sight reading, but it’s still
important to address other musicianship skills.
Here are some ear training activities adapted for students with limited verbal and motor skills.
Using Playdough:
Some students love playdough and it can be a great multisensory way to enforce aural concepts.
High and Low Sounds

Explain “right = high” and “left = low” while the student is watching the piano. Come up with an animal or object that
reminds of “high” (like a bird, plane, sun) and an animal or object that reminds them of “low” (like a lion, whale, grass)
Take the student’s hand and help them play some high and then some low keys.
On a whiteboard, draw the chosen “high” animal/object at the top next to the word “high,” and draw the “low”
animal/object at the bottom next to the word “low”. Draw a box next to each. Make a ball of playdough and explain that
whenever they hear a high note, they should put the ball in the “high” box, and the opposite for “low”.
Teach Piano Today has “play dough mats” for similar games, which you can find here:
https://wunderkeys.com/2019/10/26/piano-play-dough-mats-to-reinforce-preschool-listening-skills/

Handout 8.1
Rhythmic dictation
Level 1: How Many Sounds?

Make 5 balls of playdough. Draw a long rectangular box on a white board. Say: “I’m going to play some sounds on the
piano. If you hear 3 sounds [play 3 distinct sounds with a steady pulse - use the same key to make it easiest], then you
put 3 balls in this box” [put 3 balls in a row in the box]
If this is difficult, do it while they watch you play the sounds, then count aloud the sounds right after you play them,
then help them put the balls into the box. Modify difficulty by using less/more sounds or playing more elaborate sounds
(i.e. 3 different triads on quarter notes instead of 3 of the same key in a row)
Level 2: Long vs. Short

Explain long vs. short sounds. Play examples of each while the student watches, then help them play examples of both.
Make one ball and one “snake” out of playdough. Draw a long rectangular box on a white board. Say, “If you hear a
long sound, put the snake in the box. If you hear a short sound, put the ball in the box.” Play examples of long and short
sounds. If this is difficult, simply narrate what you are doing “now I’m going to play a long sound” and guide the
student’s hand to put a snake in the box.

Handout 8.1
Level 3: Transcribing Rhythms

Help the student make several balls and several snakes out of playdough. Play a rhythm made of quarter notes and
half notes. Have them represent what they heard on a white board by placing the balls and snakes in order in a long
rectangular box. To make it more difficult, create different symbols for more than two different note values (i.e. ball =
quarter note, short snake = half note, long snake = whole note.) This can be done without ever discussing note value
terminology if the student has not yet learned notation. For example, “This ball is like a G. This short snake is like a “G
hold”. This long snake is like a “G hold hold hold”.”
These activities were inspired by and modified from Teach Piano Today
https://www.teachpianotoday.com/2013/09/15/5-days-of-piano-teaching-fun-using-play-dough/

Handout 8.2
Module 8: Supplemental and Free Time Activities – Ear Training
Ear training progression:

Students will come to you with varying levels of aural development. Sometimes students can already sing and audiate
perfectly in tune. When they can’t, here’s the sequential progression I use to help them develop the ability to do so,
starting from the beginning. One should be able to accurately perform each level before moving on.
Note: if your student doesn’t have reliable verbal (for answering aloud) or motor skills (for pointing to answers), you’ll
have to assess them nonverbally, and it may take time before they can play what you ask or answer by pointing.
1. High/Low - Explain high sounds and low sounds. Play several examples while the student is looking. Then have
the student look away, play either a high or a low key, and ask them if it was high or low. For nonverbal
students, you can write “high” and “low” on two separate papers and place them in front of the student, having
them point with the RH to the correct answer.
2. Up/Down - Explain up/down, then play several notes in a row either going up/down and have them guess.
Easiest variation: a long string of notes (like an arpeggio) from very bottom to very top of piano. To make it
harder, play smaller sets of notes that are closer together. Once they can correctly identify up/down for
examples that include only two keys (a half step/semitone going up or down), then move to the next step.
3. Higher/Lower - Say, “I am going to play 2 keys. Your job is to tell me whether the SECOND key I play is higher
or lower than the FIRST. For example, here’s key #1 [play] and here’s key #2 [play a key much higher or much
lower than #1]. Is #2 HIGHER or LOWER than #1?” Increase difficulty by playing two keys that are closer
together until they are successfully identifying half step/semitone examples.
4. CG - play and identify C and G. Have the student place their hand in C position. Play two note examples using
only C and G (i.e. CG, GC, CC, GG). Have them sing/hum what you play and play it back for you on the piano -
you can use a free piano app on your phone if there’s only one piano. Increase difficulty by using strings of 3, 4,
and 5 notes. Then use CEG, then CDEG, then CDEFG, then the whole Major scale, etc.
5. Melody transcription: Help the student transcribe melodies by ear. Always get them to sing first, then play
what they sang.
Solfege:
Some students, especially those with AP, are delighted by solfege. For students who are already able to sing in pitch
and who also have reliable verbal skills, you can teach sight-singing using solfege from the very beginning. It’s totally
fine if a student can’t produce the names of the syllables but can match pitch by humming or on a neutral syllable. The
songs in Milestone 1 and 2 work perfectly for this.
Sing short patterns for them to echo using only Do and Sol. If they can echo successfully every time, have them
improvise and make up their own phrases instead of echoing you. This works best if you go back and forth between the
two of you, keeping a steady beat.
If students can already sing in tune, ask them/their parents what their favorite songs are. If they say they don’t know,
ask about movies, shows, and video games they like. There’s always a song that will make a student light up. Help
them pick out the melody by ear and show them how to play the accompanying chords. You can also show them just
the root of each chord or 5ths played on the root of each chord. If this seems intimidating to you or your student, start
with two chord songs like “Row Row Row Your Boat,” “Itsy Bitsy Spider”, “London Bridge,” and “The Wheels on the
Bus.” Try to avoid using these songs with older students. If you have to, use the disclaimer, “Okay, I know this is
usually a kids’ song, but I’m going to teach you something really cool about music theory using this song, so bear with
me.”

Handout 9.1
Module 9: Supplemental and Free Time Activities- Improvisation, Song Games,

Composing, Fine Motor Games, and Rote Pieces
Improvisation Duets
These are great for getting to know a student in the beginning and to exercise a different part of the brain than note
reading. I highly recommend Forrest Kinney’s “Create First!” and “Pattern Play” books.
For students with poor fine motor skills, improvising might be difficult at first. When this is the case, I use these ideas
to guide our improvisation. They are more or less sequential:
1. Steady Beat. With your LH, play a rhythmic, driving accompaniment such as Tim’s Gb Major blues pattern
below. With your RH, hold the student’s RH and push it down (using black keys only) on every quarter note. You
can start by playing the same key over and over again, or go up and down the black keys, playing every one.
Every once in awhile, let go and give the student a chance to continue with the steady beat.

Handout 9.1
2. Echo Patterns. With your LH, play the “teacher part” pattern (rhythmic and duple works best at first). With
your RH, play a short pattern such as “Du - De - Du” (see images), repeating it several times. Ask the student to
echo you. If they have trouble, take their hand and help them do it. Start with short patterns, and move to
longer ones as the student becomes able to copy them. Here are some patterns to start with:
3. Call and Response: Play the “teacher part” pattern with your LH. Decide on a length of time for each phrase - 4
beats, 8 beats, etc. Play a pattern, then have the student play a different pattern. See if you can get into a
groove where the student doesn’t miss any beats before jumping in.
Of course, you can just play an accompaniment and let the student do whatever they want, too. However, improvisation
duets are an excellent way to develop a sense of pulse, improve motor skills, and experiment with phrasing without the
pressure of notes to read.

Handout 9.1

Sing-alongs and song games

If you play any other instruments, now would be a great time to use them. Consider stocking your studio with an
assortment of instruments from which the student can choose, such as hand drums, tambourines, jingles, resonator
bars, and a shaker. Choose an instrument for you to accompany yourself as you sing - or sing unaccompanied. Guitars
and ukeleles are great for accompanying yourself while being able to face the student and not overwhelming them
with sound.
Singalongs
Learn some pop songs, folk songs, and kids’ songs on your instrument of choice. Have a variety of age-appropriate
material ready to sing. Don’t play Twinkle Twinkle to a 12-year old, even if their parent swears it’s their favorite song
(spoiler: it’s not). Have the student choose an instrument to play, and play the song together. Encourage the student to
keep a steady beat on their instrument. If they can do that, show them more elaborate rhythms to play with you. Pause
your singing or playing and leave space for them to “solo.” If it’s a verbal student, encourage them to sing the words.
“Fill in the blank” is a great way to get students singing with you, especially with familiar songs. Sing a well-known
song, and pause expectantly in strategic places so the student can fill in the word.
● For example, using Frozen’s “Let It Go”: “Let it go, let it go, can’t hold back any____! Let it go, let it go, turn
away and slam the ______!”
This might get even minimally verbal students to vocalize. However, don’t make it an issue if they don’t join. They may
genuinely not be able to.
Movement Games
Many songs already have widely used motions, like “A Ram Sam Sam” or “Where is Thumbkin”. You can also make up
movements or dances to almost any song. Here’s the simplest variation of a movement game:
1. Pick 1-2 contrasting hand motions or dance moves

2. Introduce the first hand motion and ask the student to copy you. Sing the part of the song that
corresponds to that hand motion. Repeat.
3. Repeat Step 2 with the 2nd hand motion
4. Sing the whole song, modeling when to use each hand motion. Ask the student to join you, and
leave space for them to explore, but don’t make it an issue if they don’t join. It may take
awhile for them to learn the motions, but they will eventually.

Handout 9.1
Word swaps
You can do this with any song. Look for lyrics you can swap out for the student’s name, current location, current
activity, or favorite things. Here’s an example to the tune of the song “In the Jungle” by The Tokens:
“In the classroom, the little classroom, Jonah plays the drums (x2)
“And he plaaaaay - ay - ay - ay - ays them really loud!”
“And he plaaaaay - ay - ay - ay - ays them really soft!”
Use any of the following songs as singalongs or movement games:
Pop Songs:
○ “Firework” by Katy Perry
○ “Roar” by Katy Perry
○ “Best Day of My Life” by American Authors
○ “Count on Me” Bruno Mars
○ “Don’t Worry Be Happy” by Bobby McFerrin
○ “On Top of the World” by Imagine Dragons
○ “Three Little Birds” by Bob Marley
○ “With a Little Help from My Friends” by The Beatles
○ “In the Jungle” by the Tokens
○ “Shake it Off” by Taylor Swift (for older students). For younger students, Rachel Rambach (a music
therapist) has an excellent adapted version of this song to play with shakers
(https://store.listenlearnmusic.com/product/shake-it-off/)
Movie Songs:
○ “Let it Go” from Frozen
○ “How Far I’ll Go” from Moana
○ “Under the Sea” from The Little Mermaid
Folk/Kid’s Songs:
○ Down by the Bay
○ You Are My Sunshine
○ Rig a Jig Jig
○ Over in the Meadow
○ Five Little Ducks
○ Oh, the Wind Blew East
○ A Ram Sam Sam
○ Five Green and Speckled Frogs
○ When Cats Get Up in the Morning
○ “I’m in the Mood” by Raffi
○ “Mister Sun” from Barney/Raffi
○ “We Are the Dinosaurs” by Laurie Berkner
○ “The Green Grass Grew All Around”

Handout 9.3

Composing with Paper Choices

Since students are already used to playing songs in a 5-finger position, it’s easy to get them composing songs in a 5-
finger position. Have the student choose whether they want to write a song with 4 beats in each group (4/4 time) or 3
beats in each group (¾ time). You can also choose for them.
Say “Let’s compose a song in C position. You can use the notes C D E F G, and you can also use “-” for “hold”. Draw out
the template for their song:
Ask them to fill one space at a time using letters or holds while you write out their choices on the template.
For nonverbal students, give them two choices written on small pieces of paper for every blank. For example: “Next, do
you want C [write C on a paper] or G [write G on a different paper]”. Place them in front of the student and hand them a
pencil with which they can point to their choice. Even if they choose at random or seem not to understand, write down
whatever they choose and play it back for them. Eventually they will become more purposeful and see that they can
compose.
To take it a step further, you can explain note values and help them “translate” their song into notation.

Handout 9.4

Whole Body Activities

You can help students experience concepts such as meter and a steady pulse by involving their whole bodies. The
following is adapted from a Dalcroze Eurhythmics activity:
Ball Rolling for Meter and Pulse Reinforcement

Both teacher and student sit on the floor, about 10 feet apart, facing each other. Place a small ball (about tennis ball
size) on the ground. Say “I’m going to roll this to you while I count to 4. When you get it, roll it back to me while I
count to 4.” Count steadily while emphasizing the one: “ONE two three four, ONE two three four.” You can also chant a
4-syllable word, like “WA-ter-me-lon” if you’d like an alternative to counting.
It may take a lot of practice before the student can roll it at a controlled pace. Enlist the parent to sit with them if
necessary. Once they can roll it back while you count, try it with a metronome to 60 bpm - still with you counting. Vary
the difficulty by increasing and decreasing the speed or changing the meter.

Handout 9.5

Rote Pieces
Rote pieces are another great way to get the student playing songs without the pressure of note reading. For students
with very poor fine motor skills, even copying 1 to 2 note phrases may be a huge challenge. You can work through rote
pieces very slowly with these students, or you can support them hand-under-hand as you play through. Remember, if
you play three keys and then ask the student to copy you, and they do any of the following things: stare at you/the
piano, look away, bang on some other keys, or generally just NOT copy you…. Then they probably genuinely can’t copy
you yet. This is fine. Just show them the phrase again, gently take their hand and help them repeat it back. Never get
frustrated at a student for not doing something you think they “should” be able to do. Just find a way to help them do it.
You’ll find some wonderful rote pieces in Piano Safari Book 1 (like “Charlie Chipmunk” and “Herbie the Hippo”) and the
Little Gems for Piano series by Paula Dreyer.

Handout 9.5
Credit: Paula Dreyer - Little Gems for Piano. Used with permission.

Handout 10
Module 10: Occupational Octaves Piano: An Alternative Language of Music

For students who need a slower pacing, an excellent alternative to traditional notation exists. This method is especially
suitable for students who are very young, those who are highly movement-seeking, and/or those who have poor fine
motor skills in combination with a seemingly low interest in piano. Typically, even students with poor fine motor skills
are captivated on some level by the 5-finger songs described above, so they’re willing to work harder to improve their
fine motor skills. Some students just aren’t up for this challenge at first, making them perfect candidates for
Occupational Octaves Piano (OOP).
Occupational Octaves Piano is a language of music developed for individuals with special needs that preserves the
basic instructions of traditional notation but presents them in a different, more accessible format.
Basic Instructions of Traditional Music Notation

In order for anyone to successfully and properly play the piano (from sheet music), a student must be able to look at a
note and
● instantly
● correctly
● repeatedly
know which key to press, which finger to use, and how long to hold for.
Traditional notation uses the position on the staff to determine which key to press, finger numbers to determine which
finger to use, and the shape/appearance of the note to determine how long to hold.
OOP includes the same basic instructions. It uses evenly spaced boxes to represent rhythm - each box is one beat. It
uses letters written in the boxes and on the keys to indicate keys to play. Each letter is colored, and the color
corresponds to a colored band that stays on each finger.

Handout 10
Sample songs:
You’ll need a dry erase marker to write the letters on the keys (typically not a pedagogically sound idea, but it works
well for this series and these students), as well as the pack of colored rings that comes with each book.
The OOP series includes 8 levels and plenty of supplemental material that includes many popular titles. You can go
through all 8 levels, or you can transition students to the Milestone Method once their motor skills and concentration
have improved. There’s no direct transition to reading traditional notation from OOP, which eventually limits the
amount of possible repertoire to play. However, it’s a great springboard for some students to start learning piano.
When using OOP, follow the same support guidelines from previous modules.
● Point along to each note/box on the page as the student plays

● When prompting students as they play or correcting mistakes, say “what letter?” or “what color?” instead of
saying the letter or color on the page.
● Give hand-under-hand support (see Module 5)

Handout 11
Module 11: Common Challenges/Troubleshooting

Here are recommendations for handling common, possibly challenging situations. Please note that these are not
clinical or medical advice. These suggestions intended only to facilitate successful piano lessons - not to diagnose or
treat any conditions whatsoever.
Communication
Communicating with nonverbal or unreliably verbal students can be difficult, but it doesn’t have to be. Use the
techniques discussed in Module 2 to frame questions and assess knowledge in a way that doesn’t demand a verbal
response.
If you’re interested in engaging the student in a two-way conversation and empowering them to express learning,
understanding, reasoning, and thoughts, then look into Soma-RPM (Soma - Rapid Prompting Method). You saw an
example of this in the composition activity from Module 9. An explanation of RPM is beyond the scope of this course,
but for more information, go to:
• https://www.halo-soma.org/
• https://www.youtube.com/watch?v=6c05Qq5WQew&t=7s
“Difficult” Behavior
Grabbing/Mouthing Objects:
Due to sensory integration difficulties, students may explore the space around them by picking up or manipulating
objects. They may examine them closely, wave them around, put them in their mouths, smell them, tap them against
other objects, and more. Sometimes this can lead to the destruction of property. Please keep in mind that this
destruction is not usually intentional. It simply may be a person’s way of understanding their surroundings.
Here are a few things you can do when working with a particularly curious student:
● Set your student up for success by minimizing the amount of potentially distracting items available to them.
Normally keep a container of pens on top of your piano? Move it to the inside of a cupboard for their lesson.
● Be aware of students you who know are prone to grab. Supervise them closely and anticipate their moves
before they occur. Don’t give them the opportunity to do something (we perceive as) destructive.
● Patiently, matter-of-factly explain the value and use of particular items of interest. If a student picks
something up that you don’t want them to have or break, explain what its function is and why you’re going to
take it back from them.
○ For example, “Please don’t put the play dough in your mouth, because it’s not food and it might make
you feel sick. I’m going to put it away now because we’re not using it.” Even if students literally can’t
stop themselves from grabbing these objects, it is a sign of respect to provide explanations instead of
barking no at them.

Handout 11
● Consider whether you can set aside a moment to actually let the student explore objects of interest under your
supervision. For example, if your student really wants to stim by flipping through the pages of one of your
books, can you schedule in a 1-minute break after they play a piece to let them do this?
● Have low-value items available for them to manipulate if they want. It’s such a relief for BOTH of you to hand a
student a bucket full of items that they are free to destroy if they want! For a list of fidgets and sensory toys,
see Module 3.
Obsessive/Ritualistic Behaviors
Obsessive and ritualistic behaviors are commonly observed in autistic individuals. Additionally, a number of individuals
diagnosed with autism are also diagnosed with obsessive compulsive disorder (OCD). Both autistic individuals and
those diagnosed with OCD can exhibit routine-based behaviors and inflexibility and anxiety around changes of routine.
Some examples include:
● Physical routines such as needing to turn the lights on and off 3 times when entering a room
● Fixing something that is not their version of correct (the pencil goes on top of the piano, not on the music
stand),
● Staying on a strict schedule (we always play from the lesson book first)
● Perseverating on a specific topic (talking only about trains)
● Needing specific questions answered by others (asking someone which route they took to get here every time
they meet).
There are some key differences between OCD-driven behaviors and autism-driven ritualistic behaviors.
The primary difference is that someone with OCD performs compulsions to reduce anxiety and likely feels shame
around them, whereas someone with autism is likely to engage in compulsions simply because they are enjoyable.
Anxiety can still be a component in those with autism, but often the compulsions enhance their life.
It’s not our job to distinguish between OCD and autism. However, it’s useful for us to have a basic understanding of the
reasons a student MIGHT be performing rituals or compulsions.
As with most behaviors demonstrated by students with special needs, first ask yourself: is this behavior really a big
deal? If a student needs to sit down and stand up from the bench three times before they finally sit down to play a
song, why should you stop them? If you feel the urge to stop a student from performing compulsions simply because
these compulsions annoy you, you should reconsider.
When observing compulsions during a lesson:
● If the compulsion is benign (not hurting the self or anyone else) and short in duration (a quick ritual when
entering the room or sitting at the piano), let it continue and move on.
● If the compulsion is benign (not hurting the self or anyone else) and long in duration (i.e. the student is taking
up half of the lesson time asking which highway you take to get to go home), set a clear boundary about when

Handout 11
and for how long they can engage in that compulsion. Write out a schedule and place it somewhere they can
see it. The first time they attempt to talk about/perform the compulsion, say something like “It’s not time for
that right now. It’s time for ___ right now. We can do that after ____” [point to the schedule]. After you say this
once, don’t say it again, or else getting you to say that can become a new compulsion.
● Sometimes there’s a fine line between a compulsion and a stim. You may not be able to tell the difference, and
that’s why it’s important to try to let your student perform it if it doesn’t interfere too substantially with the
lesson. If it’s a vocal compulsion/stim, it can simply be ignored while you continue instructing and the student
continues playing. If the compulsion is harmful to you or to the student (very rare, but it could happen), enlist a
parent’s help immediately and follow their lead. If you do not feel comfortable continuing to teach the student,
or if you do not agree with the way that the parent handles the compulsion, you may discontinue teaching the
student.
Aggressive Behavior
Occasionally, students with special needs can display aggressive behaviors such as hitting, scratching, pinching, biting,
hair-pulling, kicking, or destroying property.
You may notice patterns or situations that seem to trigger that behavior during lessons. Also, many parents will tell
you up front about their child’s aggressive tendencies.
Note: Don’t let this scare you away from teaching students with special needs. There are several ways to manage these
occurrences, and they are far from the norm when working with this population.
● If a student has any known tendency towards aggression, the parent should be in the room watching at all
times. This is so that the parent can intervene if necessary and so your personal liability is minimized.
● If a student acts aggressively towards you, something has triggered that behavior. Try to determine what it
was. If it’s something that can be avoided in the future, then avoid it!
● If you can’t avoid doing whatever triggers the student’s aggressive behavior, or if you’re not sure what triggers
it, then you need to be ready to move yourself out of physical range. The best thing you can do when a student
acts aggressively is to VERY CALMLY remove yourself from the student’s presence. Reacting emotionally
and/or allowing the student to make aggressive physical contact with you is a mistake. It is up to you to keep
yourself safe and carry on with instruction.
● If a student is visibly becoming agitated, consider stopping the activity or letting the student take a break. Do
not “egg on” students by forcing them to continue with something because you feel it’s a power struggle. There
are at least dozens of ways to teach any concept at the piano and infinite alternatives for whichever activity in
which the student has become agitated.
● For students who are prone to aggressive behaviors, these may occur during a “lull” in the lesson. Try not to
leave space for students to act out aggressively. Plan something for every moment, and always be able to
redirect a student to another activity if the current one isn’t working out.
Not wanting to go to the piano

Handout 11
Sometimes, students just don’t want to sit at the piano. You ask the student a few times to the piano and write it on the
schedule. If this doesn’t work, then try bringing your lesson to wherever the student is. Keep a small keyboard in your
studio that you can bring to the student if they, for example, insist on sitting on the floor. You can also engage the
student in some singing, ear training, or a movement game from wherever they are. Think about ways you can meet the
student where they are instead of trying to force them to do something they really don’t want to or might not be able to
do in that moment.
Tantrums and Meltdowns
Tantrums
Typically these happen because a person doesn’t get what they want, can’t communicate properly, or aren’t being
understood. Tantrums can typically be stopped when the person is comforted by a parent or caregiver, given what they
want (usually not ideal), or the person is ignored and eventually gives up. In general, people (usually younger children)
who are having a tantrum are aware of and in control of their actions, and they can adjust the intensity of the tantrum
based on the response they get.
Meltdowns
These are different from tantrums. They can be caused by overstimulation or undesirable sensory input. They are
typically preceded by “rumblings” (behaviors that signal an imminent meltdown) and/or stimming. They can happen to
individuals of any age, with or without an audience. They can last longer than tantrums and can be hard to stop, since
it’s not a matter of “giving in” or clearing up a miscommunication.
Tantrums and meltdowns can involve a lot of the same behaviors, like screaming, crying, and physical behaviors such
as kicking, hitting, biting, etc. However, if you can tell if what you’re observing is a tantrum or a meltdown, or if you
know your student is prone to one or the other, you can deal with them in different ways.
Dealing with Tantrums
● Stay calm. Don’t become visibly upset or raise your voice in response to the student’s actions.
● Whenever possible, don’t give in to what the student wants. Hopefully you can avoid the student throwing
tantrums in the first place by redirecting and de-escalating, but since you’re here now… don’t give in.
● Validate the student’s feelings. You can say “It looks like you’re really upset right now. We can’t do _____ now
because _____, but next time we can put that on the schedule. I’ll wait until you’re ready to learn more.” Then
don’t say anything else.

Handout 11
Dealing with Meltdowns
To put it simply: Keep them safe, give them space, and wait it out.
● If possible and safe, leave the room or cross to the other side of it. Give the student as much space as you can.
● Dim the lights, turn off any sounds, and offer the student noise-cancelling headphones.
● Keep yourself calm. Sensing your frustration or fear can worsen the meltdown for the student
● Don’t rely on logic. Individuals having a meltdown usually can’t be reasoned with.

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TopMusic On Special Needs Teaching

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Module 1: What is “Neurodivergent?

What is meant by the term “neurodivergent”?

Page 1 | TopMusic on Neurodivergent Teaching

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The Neurodiversity Movement

Should I ask about a student’s diagnosis?

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Module 2: Quick Win: Presuming Competence

Modify your expectations of “good behavior”

Communicate Concisely and Respectfully

● Provide opportunities to answer in nonverbal ways. For example:

● Allow extra time for processing and responding

Page 2 | TopMusic on Neurodivergent Teaching

Module 3: Environmental Accommodations

A. Your Sensory-Friendly Studio

Page 1 | TopMusic on Neurodivergent Teaching

Be prepared to play and speak softly if necessary.

Have headphones available for sound-sensitive students:

Page 2 | TopMusic on Neurodivergent Teaching

Here are some ideas for fidgets and stimmy toys:

Koosh Balls: Colored scarves:

Spiky Silicone Sponge Spiky Slap Bracelets:

Stretchy Noodles: “Grassy” or otherwise textured bath mat/sensory mat.

*Click on the photos for links to the items on amazon

Page 3 | TopMusic on Neurodivergent Teaching

B. Setting the tone

Page 4 | TopMusic on Neurodivergent Teaching

C. Lesson Flow Tools

Schedules Tips for successful

4. At first, add more activities than you

5. Stick to the schedule no matter

6. Have a few go-to backup activities

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Module 4: Perfect Pitch – Your Student Probably Has It

What is perfect pitch and why does it matter?

When teaching a student with AP to sight read:

• You must never play, sing, hum, or audibly reproduce a melody

Page 1 | TopMusic on Neurodivergent Teaching

When students struggle with purposeful movement, they need an

Playing games or giving verbal/auditory instructions and waiting for a

Page 2 | TopMusic on Neurodivergent Teaching

Module 4: Perfect Pitch – Your Student Probably Has It

How to tell if your student has perfect pitch

8. The student mimics voices and accents perfectly.

Page 1 | TopMusic on Neurodivergent Teaching

Overview of the Milestone Method

Songs are written using letters, with dashes for "holds"

C Position songs: G Position Songs:

Page 1 | TopMusic on Neurodivergent Teaching

C Position Songs: G Position Songs:

Transition to method books:

Page 2 | TopMusic on Neurodivergent Teaching

Part One: Single-Hand Songs in C Position

Introducing C position for the RH (can use LH if student is LH dominant).

Script for introducing CDEFG

1. Place a whiteboard in front of the student.

Page 1 | TopMusic on Neurodivergent Teaching

Addressing Common Mistakes

● Plays the correct note with the wrong finger -

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