Student plays scale assigned from last week. Fingering is corrected by using example of "pictures." If correction is sufficient, the next scale is introduced and fingering is taught. "Bea's Keys" a game, is played to reinforce note names. This is timed. Theory pages are corrected here. Student's time is recorded and if time is better, student is praised. Mistakes in theory, if any, are gone over and corrected. Technical exercises, called "Holly's excercises," are next. I invented them. They are to develop strength and agility for certain problems in the literature. Mistakes are corrected. New exercises are given during the lesson depending on what is need in the student's peices. The student next plays the peice most worked on. This is listened to without remark. At end student is given honest feedback. Then problems are worked on. The student already has a list of 35 practice techniques. We go over the list and see what can be used where. As a problem is being solved, I encourage slowness, calmness, patience, love of self. Also to think of the problem as a puzzle to be worked out. The satisfaction of the solved problem in a short period of time is satisfying. Even before all kinks are worked out, I encourage feeling, drawing sound out, gentle touch, dynamics, the music behind the notes. A student should always be playing music, not just pounding keys. After the pieces, I listen to their composition from the week before. I usually play it myself. I praise every creative part I see, especially how they used my criteria. Places that don't work I take apart and fix using rules of composition and teach them those rules. They may work on the piece another week to improve it or they might start a new piece. If I give them a new peice I give them compositional tools.