This is the goal of knowing how to decipher a page of music. This means quickly finding and comprehending on the page all the information needed to execute the music as envisaged by the composer who wrote it; basically working out which notes should be played at which moment in time and in which manner/style.
This goal guarantees steady progress in learning piano and is obviously the most transferable skill for taking up other instruments.
Secure reading skills means that most teaching and practising time can be spent on the other goal areas (practice skills, technique and musicality), which leads to faster and richer progress in those areas.
If the goal is well met, the knowledge acquired is likely to last for years, so the student will always have autonomy when music-making for pleasure.
At the very beginning this goal has to be the major focus, because the other goals are held back until this one is basically met.
My first major goal for my students in this area is building a foundation of reading skills solid enough that by the time they start preparing their Grade 1 pieces they are capable of deciphering and executing, by themselves, all the music they need to learn for the exam.
There is an occasional exception to this. There are a few specific rhythmic challenges that occasionally crop up in the early grades that I do teach partly by demonstration. I always make sure though that the student understands how the rhythm has been put together. By Grade 3 I would expect the student to work out how to execute even these complex rhythms by themselves, with coaching and guidance from me when they first encounter them.
From Grade 3 onwards the growth in complexity around the deciphering of music begins to tail off. A well taught student of Grade 3 level will be able to understand most of what is on the page of a Grade 8 piece, even though they wouldn’t be able to play it.
Having the beginner student start reading the music from the proper stave very soon, rather than from diagrammatic false equivalents.
Consolidating with spot tests, flashcard quizzes, music whiteboard work and quick study or sight-reading assignments.
Personalising any support tools to the student’s specific misunderstandings or blind spots.
Installing the expectation that the student normally deciphers the music for themselves, rather than having the music first demonstrated to them.
Focusing on reading rather than memorising, and on having eyes on the music rather than on the hands.
Always using more (and more varied) material than solely the exam pieces, so that for most of the year, in any given week, the homework includes something new to be learnt (rather than only familiar pieces already learnt).
If this goal is not met in good time, general progress will stall.
At best too much time will be spent deciphering each new piece of music. This will prolong the process of learning the music and allow mistakes, which take time and effort to correct, to creep in during practice.
At worst the student will develop a strong resistance to even trying to decipher the music themselves. If this resistance becomes entrenched, they will probably never manage to build their musical skills and knowledge.