Vibrational haptic devices represent an emerging yet underdeveloped frontier in music and music education. Typically worn on the user’s feet, hands, or wrists, these devices work to translate sound from the user’s environment into a series of pulses. While researchers have begun exploring their use to introduce vibration into music listening (Armitage and Ng, 2015; Paisa et al., 2023; Siedenburg et al., 2024), little work has examined their transferability to music pedagogy, and no haptic tools currently exist for specific use by educators and musicians. This gap demonstrates the need for haptic tools that are both musically responsive and pedagogically grounded, addressing the acoustic, educational, and practical needs of musicians and teachers. For musicians with hearing loss, vibrotactile learning has been cited as a potential tool for supplementing auditory feedback (Young et al., 2016; Slater and Marozeau, 2016). Further research on neuroplasticity and the brain has also shown that combining visual and tactile cues in the presence of auditory sounds enhances alternative pathways in multimodal music engagement, improving learner retention in memorization and performance (Bangert et al., 2005; Fasano et al., 2020). This is important, because while traditional assistive devices such as hearing aids and cochlear implants can provide valuable auditory amplification with hearing loss, current hearing technologies are unable to accurately capture and transmit musical sound. As such, many deaf/hard-of-hearing (D/HOH) musicians rely on alternative sensory and visual cues within their environment to understand auditory information they receive, including dynamics, pitch, and rhythm.Thus, this paper considers the potential of wearable haptics in adaptive music pedagogy, exploring how educators might use haptics to expand access, improve musicianship, and foster an inclusive learning environment for their students with hearing loss. It provides an overview into current wearable haptics and haptic programs already in use today, and how they might be utilized as a vibrotactile tool in the practice and performance environment. By situating wearable haptics within the context of music education, this work underscores their vibrational potential to transform teaching and learning for D/HOH musicians. Finally, this paper challenges educators to consider how they might infuse vibrotactile learning and the use of haptic technology in their own teaching. Applied effectively, haptic technologies have great potential to enhance facets of musical accuracy regardless of hearing loss, deepening students’ emotional and communal experience of making and sharing music.