Recruiting students. Networking with other teachers. 
Dealing with flaky students. Studio policy. Burnout. Taxes. Loving your job. Making an impact. Getting paid what you're worth.

Sound like some things you’ve been facing in your music teacher life? You’re not alone. 

You’re over there juggling running your own business, your family, your studies, your life. 
Oh yeah, and maybe you’re practicing?

(Or not. It’s totally fine. Same.)

You’re struggling with:
- Keeping up with payments
- Planning events
- Keeping students motivated
- Recruiting
- Keeping your studio disinfected (kiddie germs, ew)

And you sometimes wonder, “I wish I had a friend that ‘got it’ and knew what 

I was going through  and could help me navigate all of this. 
It’d be sooooo nice to make a full time living teaching lessons on my own terms.
But, I just don’t think I can ever do it.”


THAT'S WHERE I COME IN.

I know what it feels like to move to a new place and start a studio from scratch
(I’ve done it 3 times.)

I know the anxiety that comes with being “the new teacher” in town and feeling like you’ll never have any students.
(Hello, Athens, Seattle, and Sugar Hill.)

I know the frustration that brews inside of you when you send out 200 introductory emails with 0 replies.
(I’ve found that German chocolate is an effective remedy.)

I know how hard it is being introverted
and putting yourself out there.
(Lavender. Smell all the lavender.)

I know how easy it is to not stick to your policy because you want to be nice and not make people mad at you.
(“It’s ok. You don’t have to pay me this month.
Just don’t be mad at me, k?”)

I know what it feels like to only bring in $10,000 a year in teaching income.
(No more free masterclasses, sectionals,
or playing “for the experience” y’all.)

And if you’re over there saying, “holy moly, that’s me!” to all of the above, I want you to know...

YOU’RE NOT ALONE.

I’m Katherine, and I work with private music teachers like you who want to create or reinvent their dream studio
ON THEIR OWN TERMS. I give you the necessary business, pedagogical, and people skills
that it takes to not only make a living, but make a SUBSTANTIAL living doing what you love.


Ready for my story? Grab a snack.

I began taking piano lessons when I was 8 years old. I LOVED going to piano lessons and always had a special bond with my private lessons teachers. When middle school band came along, I decided to add the flute to my musical life. I. WAS. TERRIBLE. Last chair. My parents enrolled me in lessons at the local music store with a saxophonist who also played a bit of flute. Before long, I was in that first chair, participated in all the honor bands, youth wind ensembles, and was considering majoring in music in college.

Fast forward to college. I didn’t really know what I wanted to do, so I declared music education as my major because it’s a “safe” major, right? (Look, if you don’t like kids, you probably shouldn’t major in music ed. Can we do a collective eye roll?) 4 years later, I had a degree in music education and didn’t really know what to do with myself. I attempted auditioning for grad schools and was completely devastated when I didn’t get into a single program.

Note to all you college students out there: it’s not smart to student teach while preparing for grad auditions. Take a fifth year. It’s fine. And don’t only apply to the top conservatories. Plus, they’re expensive.

I ended up teaching elementary general music for a year. This is where I really learned how to teach and when I began understanding how little humans think. After one year and about 200 cans of Lysol, I decided that while I like kids, I don’t like kids in massive quantities, and I missed playing.

I went back to the safety of school. I floundered around and tried to figure out what I wanted. 

Finally, it hit me: FLUTE PROFESSOR. 

It was everything I wanted. A little teaching, a little playing, a little research, summers off, steady income, health insurance. I was always an excellent student and loved school, so it seemed only natural.

My now husband and I began shopping for doctorate programs. I was BURNED from the failed first grad school auditions and was reluctant to take auditions. I played in a masterclass for Paula Robison, and she suggested I check out the University of Washington with her former student, Donna Shin. My now husband was thrilled. He loved Seattle and strongly encouraged me (“can we PLEASE go to Seattle?? Pretty, pretty please?”) to apply.

So, I did.

I got in, and we started our trek across the country from Atlanta to Seattle. 

I LOVED the doctorate program and the flute studio. I did a lot of things during school. Started a trio, tutored athletes in their non major music courses, worked at the music library, started my second private flute studio, won competitions, didn’t win competitions, figured out to how build websites, co-founded FLUTISSIMO, was a theory TA, gave tons of masterclasses and workshops nationally, participated in international competitions. Oh, and got married.

I was a BOSS.

I was priming myself for that dream professor job. Those are all the things you have to do to get a job, right? I wanted to make sure I had every box checked. 

While in Seattle, I was exposed to some KILLER private flute teachers. They had 12 year old students who played better that I did at age 20. They knew theory, history, were competing in competitions, and loved it. 

I was in awe that private lesson studios could be like that. So, I tried it on for size.

I was basically teaching everything I would be teaching in a college flute studio in my own studio with kids. I wasn’t sure if it would work or not…

BUT IT DID.

I had the students performing more recitals in one year than I did in my undergrad. They played for guest artists, went on field trips, performed in competitions. They THRIVED.

I had the students performing more recitals in one year than I did in my undergrad. They played for guest artists, went on field trips, performed in competitions. They THRIVED.

When I was zigzagging the country giving masterclasses and lectures at colleges and universities, one of the lectures I gave was about studio development. I decided to propose it for a NFA conference one year, and it was accepted.

THERE WAS STANDING ROOM ONLY.

I had struck a nerve. This was a topic that people NEEDED and WANTED.

I found something that the world needed that I could provide. It is now my pleasure to help private music studio teachers earn the income they deserve, teach what they love, and elevate the vision of what private music lessons can be in this world.

Just think of me as that friend that is ready to listen to you with
open ears and help you create the life you deserve.

I can’t wait to hear YOUR story and help you write the next chapter.

Enter your text here...

"Ok, that's all great, but what are your creds?"
No worries! Here's my fancy musician bio:

Dr. Katherine Emeneth is an enthusiastic performer, collaborator, clinician, pedagogue, and teacher with a passion for education.

Katherine Emeneth’s expertise and enthusiasm for rigorous flute pedagogy balances with a style that is engaging and encompassing the whole person. She is the owner of the Georgia Flute Academy where she specializes in pre-college flute education in northeast Georgia. In her studio, she creates individualized curriculum, organizes studio events that range from guest artist masterclasses to student recitals at local retirement homes, prepares students for local and national flute competitions, designs unique project-based learning for music history, theory, and listening, and provides learning enrichment through other various activities including field trips and a summer camp. She is in demand as a clinician, adjudicator, and speaker at various middle, high schools, and colleges throughout the southeast and beyond.

Additionally, Katherine Emeneth is the creator of the first ever online course for private studio music teachers called the Music Teacher’s Playbook. In an effort to educate musicians about creating a sustainable career in the arts by teaching privately, she shares her business knowledge, pedagogical ideas, and digital media expertise in this class specifically designed to help music educators forge a unique and successful career.

Katherine Emeneth’s professional performances include both solo and ensemble appearances with the Charleston Symphony Orchestra, Chattanooga Symphony Orchestra, Hilton Head Symphony Orchestra, Seattle Collaborative Orchestra, Seattle Metropolitan Chamber Orchestra, Washington-Idaho Symphony Orchestra, Gwinnett Ballet Orchestra, Puget Sound Symphony, University of Washington Baroque Orchestra, Conservatorio d’Alessandria Chamber Orchestra, Seattle Metropolitan Chamber Orchestra, and the Bay View Music Festival Orchestra. In 2015 she competed in the Gheorghe Dima International Music Competition in Cluj-Napoca, Romania. As one of two Americans selected for the finals of this competition, she competed with some of the world’s top flutists. She has also been a finalist or prize winner in the Atlanta Flute Club’s Young Artist Competition, the Philadelphia Flute Society’s Young Artist Competition, the Byron Hester Young Artist Competition, and the Domey/Gillespie Young Artist Competition.

As an avid chamber musician, Katherine Emeneth is a co-founder of a chamber ensemble called The Kitchen Sync. This ensemble focuses on the hybrid arts and cross-discipline collaborations, specifically chamber music and storytelling, science, world cultures, and technology. The ensemble presents concerts capturing a variety of musical styles from Bach to Hip Hop and incorporates local storytellers, digital artists, opera singers, and scientists. A strong emphasis of the Kitchen Sync’s mission is to bring unique musical and educational performances to the community.

In addition to being the Program Director of the SSMF Flute Academy, Katherine Emeneth is a co-founder of the Flutissimo! Summer Flute Workshop at the University of Georgia. Katherine has presented workshops at the National Flute Association, Kentucky Flute Festival, Seattle Flute Society, and at colleges and universities. Her workshops on the “The Entrepreneurial Flutist” are the most sought after. She currently serves at the Membership Committee Chair of the National Flute Association and was recently elected as the Assistant Secretary of the Executive Committee.

Katherine Emeneth has served on the faculty of the University of Washington. She currently teaches at Georgia Gwinnett College where she was the recipient of the 2017 Outstanding Teaching Award. Katherine Emeneth holds degrees from the University of Georgia and the University of Washington. She lives in Sugar Hill, Georgia with her husband and Old English Sheepdog, Barney.