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The article provides information on teaching a classroom guitar. Steven Eckels, a music teacher at Flathead High School, states that hearing the instruments all playing together will be the biggest challenge in a group class. He adds that students should practice on synchronized strumming first with the strings muted. Furthermore, he said that after synchronization, the students can then learn the actual right-hand movements. Other information related to teaching guitar are also mentioned.

The article focuses on the methods of music educator Kirk Kassner in teaching students on how to develop a good sense of relative pitch in the U.S. Kassner's approach includes exploring pitch sirens and singing the string which could help students used to the idea of moving up and down with their voices. He also used Solfége hand signs which can also help students master difficult music especially passages with harmony parts.

The article presents music teacher Glen McCarthy's views on teaching guitar to older music students. According to McCarthy, older students are more sophisticated in their listening habits and as such, he has to update his repertoire from traditional children's songs and folk songs. McCarthy suggests ensuring that older students are getting out of the class what they are expecting.

The article offers information on the usage of buzzing in music education. Buzzing involves sounding notes using just the mouthpiece or the bare lips. Buzzing is stated to be helpful in tackling a difficult piece of music and solving problems other than playing the right pitches in rhythm. Music teacher James Sheeley advocate buzzing as part of a warm-up.

The article discusses key elements of teaching perfect postures for student pianist. Eric Sutz, a Chicago-area piano teacher and performer describes some factors that contribute to posture problems among pianist, and how to correct such problems through exercises. He cites that once the student has tension, the posture is affected, and its needs to be addressed by the piano teacher.

The article focuses on the fundamentals of flute choir music, along with its arrangements. Pamela Youngblood, associate professor of music at Texas Woman's University in Denton, describes the benefits of a flute choir among students. She also cites some techniques in a flute choir arrangement that are easy to adopt by music teachers.

The article presents suggestions for teaching musical rhythm to young children. Supplementation of longer rhythms with independent hand gestures are suggested to get children involved in a whole-body experience. Music teacher Nancy Parent suggests associating musical rhythms to fun symbols when children exhibit trouble identifying the symbols.

The article offers information on the connection between classroom reading and musical learning. According to writer Dee Hansen, both musical learning and classroom reading include decoding that involves the breaking of the visual code of symbols into sounds. Like classroom reading, musical learning also involves phonological awareness, phonemic awareness, sight identification, orthographic awareness, cueing systems awareness and fluency.

The article focuses on teaching multicultural music. According to the author, a proper teaching method is important in teaching of multicultural music. Furthermore, Marvelene C. Moore, professor of music at the University of Tennessee, Knoxville, states that multicultural music should be taught according to its particular culture. She adds that attending workshops are best way for new teachers to learn on the teaching of multicultural music.

The article focuses on the use of jazz in teaching improvisation. Jeremy Polk, a Yamaha performing artist and lecturer in music education, describes the advantages that jazz has in music education. Polk also stresses that the major advantage of jazz as a teaching tool for music improvisation is its interactivity.