If you had have asked me 8 years ago about my opinion of scripted programs, I would have argued against them. My view was that we should instead focus on developing every teacher to the point where they can write high-quality lessons.

I’ve since changed my mind.

This post highlights an analogy which has helped me come to this realisation…

A developing violinist walks into the studio of their new instructor.

‘What would you like to focus on today?’ the instructor asks.

‘Umm… I thought we could keep working on my part in Vivaldi’s Spring,’ the student replies.

‘I’ve been thinking about that,’ the instructor says. ‘I actually think it’s really important that you come up with your own piece. I feel that always playing music written by others undermines your autonomy—and, frankly, your professionalism.’

‘Okay… but I’m not sure how it reduces my autonomy. I want to play it. And as for professionalism, Vivaldi…’

‘Plus,’ the instructor interjects, ‘sheet music oversimplifies the complexity of music. All the subtle decisions a musician makes—their flair, their feel, their interaction with the audience —none of that can be captured in little black marks on a page.’

‘I don’t feel like the score oversimplifies the music. It’s just a basis from which I as the musician can begin to communicate…’

‘Look,’ the instructor interrupts again. ‘If you keep playing other people’s music, how will you develop as a musician? You’ll only really learn by writing your own pieces, trying them with different audiences, and working out what fits for you.’

‘I feel like I’ve come in leaps and bounds by playing the best work of those who came before…’

‘I’m losing patience,’ states the instructor flatly. ‘When you play other people’s music, you sound robotic and unnatural. The audience will be able to tell you don’t know what you’re doing if you didn’t write it yourself.’

The violinist tries to argue that having sheet music allows them to focus on nailing timing, dynamics, and emotion—but it’s futile. The instructor can’t be convinced.

This vignette seems absurd because, when it comes to developing musicians, we all accept that the best scaffold for novices is to begin by playing pieces written by experts.

We know that we need to give novice musicians a music script—sheet music penned by experts—and have them work hard to experience what it feels like to play a masterpiece. Some musicians will later write their own works; some won’t. Both paths are fine. The goal is to play beautiful music that delights audiences. Who wrote the score matters far less than how that piece is experienced by the audience.

Sheet music doesn’t undermine a musician’s autonomy or professionalism. It provides productive constraints within which they can shape their own expression. In some genres (e.g., jazz) that foundation may be looser, and improvisation becomes more and more prominent as expertise grows. In other genres, strict adherence to the score is expected—and the artistry lies in what the musician does with it.

Sheet music doesn’t oversimplify musicianship. It provides the essential foundation on which complexity and mastery are built.

Sheet music doesn’t inhibit learning. It exposes musicians to combinations of tones, melodies, and rhythms that work well together, offering worked examples that can be built upon later.

And sheet music doesn’t make performance robotic or unnatural. Certainly, some players may play in this way—but the whole point of the art is to infuse the score with one’s own expression.

And every year, tens of millions of people pay good money to hear musicians perform music written by others.

Yet many educators carry a bias: the belief that teachers should write their own lesson plans. The same arguments emerge—autonomy, professionalism, teacher learning, oversimplification of complexity, fears of rigid delivery.

The truth is that teaching from scripts are one of the most efficient ways for teachers to reach classroom virtuosity. They can support the kinds of lessons that help students learn faster than ever while rapidly developing teachers’ pedagogical content knowledge.

But don’t take my word for it. Chat with (or listen to) teachers who’ve used high-quality scripted programs. I speak to schools every week who sing the praises of scripted programs, from the literacy space to now mathematics.

If we want virtuosos in the classroom, we shouldn’t hesitate to hand them masterpieces.

Announcements & Opportunities

Challis is Hiring!

For those who have listened to my podcast discussion with the team from Challis Community Primary School, you’ll know what a phenomenal school this is. Well, Challis is hiring! If I was a teacher on the lookout for a job in WA, I’d be seriously considering this one! See more details in this flyer and pay them a visit at their next recruitment session from 4:30-6pm on Dec 2nd (details in flyer).

The Explicit Mathematics Podcast?

That’s right, the Explicit Mathematics Program now has a Podcast! We have 4 episodes out now which span a chat with Lead Author David Morkunas to a recent round table on how to make EMP work in small schools. Check it out here.

Upcoming Steplab Trainings

Come learn about high quality Instructional Coaching at one of these events:

Gippsland, Vic on Feb 9th 2026

Sunshine Coast, QLD, on March 9th, 2026