Could you use an extra tool for calm? I've got a mindfulness tip for you that's all about low sounds, which are different from quiet sounds as my students learn. 

Let's start with high and low sounds. High-pitched sounds include birds chirping, swooping car alarms and kitten meows. Instruments that play high sounds include flutes, piccolos, violins and chimes. They are called high because their sound waves happen at a high frequency or quickly, and look a little like this:

VVVVVVVVVVVVVVVVVVVVVVVVV

Low-pitched sounds such as a mature cow's moo, the chuff of a train engine or a tiger, or a ship's fog horn have lower frequency sounds waves, which means they happen more slowly than those of high-pitched sounds. Their sound waves look roughly like this:

/''''''''\____/"""""\____/"""""\____

Bass guitar, tuba, bass drum, bassoon and didggery-doo all make low sounds.

For kids, it's easier to hear high sounds with clarity than low sounds (because of the way both brain and ear develop). But adults can hear low sounds more acutely. And low sounds have deep emotional significance: they are the first steady rhythmic sounds humans hear in the womb as mama's heartbeat.

This brings me to your mindfulness tool. Because low sounds have such a harmonious relationship with the oldest parts of the brain, listening to low sounds can calm your system. In a celebrated relaxing song by Marconi Union, low-frequency sounds are used continuously. It's probably not a good idea to listen to this while driving, because it is so relaxing. 

Even without cuing up a snooze-inducing sound bath, you can still experience the benefits of active listening to low sounds. Most mainstream music features some kind of bass or percussion sound that is steady throughout each tune. There are also a range of higher and lower sounds in the ambient noises of daily life, from the working din of a cafe to the sounds on a television to the noises of a busy street. 

Your mindful mission, if you choose to accept it, is to listen for low sounds throughout your day. Want to train your ear to hear low? Listen to Bach's cello suites (mostly bass sounds) Chaka Khan's Tell Me Something Good or Leonard Cohen's Hallelujah (slower bass) or Charles Wright's Express Yourself (quicker bassline). Listen for the steady sounds that outline the beat of each song. 
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This will train you to hear and name low sounds. Over time, you will be able to use your ears, even in what seems like chaos, to find a focal point for your mind. This can reduce irrititation in the moment, and stave off overwhelm to keep you more contented all day long.

​Rhythm is the first thing I work with in my students’ early lessons. We improvise (play spontaneously) based on fast and slow rhythms. I teach them the basic musical note shapes for 1 (one) beat and 2 (two) beats.

For young children, movement words are excellent to cue rhythm through speech. I teach my students to move in a walk and say “walk” with each step, while pointing to a quarter note (see above). Or I teach them to clap and with each clap, say “walk.”

For two-beat notes, I teach a child to step and stay to the chanted word “stand-ing”. To clap a half note, we clap on the first beat and squeeze hands together on the second beat.

Make time regularly for a family jam session where you either play along with your favorite songs or make up your own. Any musical instrument can build skills that translate to success at the piano. Rhythm instruments are wonderful and you can even make your own … my favorite trick is to fill old supplement bottles with beans or rice to use as shakers. You can paint them or cover them with collage for extra fun! ​​

The mind-body system needs to repeat a skill thousands of times in order to master it. A common misconception is that if someone has learned how to do something in one situation, they should be able to apply this skill in all other settings or contexts.

Because people have different learning styles, they may take to something presented in one way, but it might take time for them to master it in other situations.

A mistake could tell me to present a concept in a different way, to work with a different part of my student’s personality, or to guide the lesson to a different task–to take a brain break. 

When a student makes a mistake in a session, I celebrate their courage to take a risk doing something that is not yet easy for them and knowing they might make a mistake. I do my best to model positivity and strong esteem for my students. We look at their mistakes as valuable information, rather than as matters of guilt or shame.​

Enough of my students’ parents have their own childhood memories of word practice being used in unkind ways that I stay away from it altogether in the early years of lessons.
This helps my students and their parents develop an understanding of home play as the discovery of music and learning that happens in between lessons. Calling it home play frames it as a choice my students make, rather than a chore.

If students don't do their home play, they still enjoy their lessons. But they do feel excited and motivated when they have done it, because they can see and sense their own progress.​