An experienced overseas piano graduate is coaching higher level students, particularly in preparation of the Abrsm and Trinity Guildhall Piano Diplomas in Teaching and Diploma in Performing. Lessons conducted till the fellowship diplomas where students are groomed to have a certain level of efficiency and competitiveness rather than just accounting for the exam syllabus. As, an associate diploma literally means the 1st year study in a music institution, the licentiate the 3nd year, and the fellowship the 4th year, thus, it is essential that students acquire likewise understanding and pianistic skills. Students will learn not just the exam repertoires, but on a broader significance; etudes, double piano study, music analysis, audio and literal readings that would otherwise be compulsory in a proper institution or college. Contact :[email protected] for enquiries.
Are you having doubts on the interpretation or teaching points of the repertoires or simply daunted by technical difficulties?
Are you feeling stiffness and pain and that something is not quite right about the manner you play the piano but not able to comprehend what exactly is wrong?
Or are you just puzzled with how a professional pianist produces seemingly flawless beautiful tonewith the greatest sensitivity and you can't?
What about fundamentals as how to improve your sightreading and aural? What exactly are they about and why the need? What aboutfingering? How do we know what is the best fingering to use and is it necessary to follow editorial suggestions then? Do you have all these answers for your students and even yourself?
Do you know that these are the uncertainties in the mind of an advanced student even and not just problems that a beginner faces? Not even very advanced pianists have the right answers and approach to these issues, and most of them are left unexplored and undealt with over the years, which is clearly detrimental.
Well, do you know that no matter your handshape and size, there is always only 1 correct choice of fingering which all decent pianists will agree. One really ought finger a sentence to the flow of the musicand not have the music accommodate your hands.
And do you know that Sightreading is never really about your eyes. It is the keen sense of your 'inner' ears; the sense of key, shape of key and feel of the physical keyboard. And, how important is Aural? Well, you need not do Aural assessment anymore at Diploma Levels, but, find me an accomplished pianist who can't sing and listen well, and the answer is '0'.
Learning Music is never just about your hands, eyes or the ears. It is everything. It is the making use, understanding and being comfortable200% of your whole senses, from what one can see to minute intricacies which could only be felt.
And how exactly does one improve technic? Will you really correct and achieve anything by embarking on challenging Etudes?
The answer is actually No. If you are already having physical problems playing simpler passages, how will you fare doing an otherwise complex etude? One will just end up with worse playing habits, tensions and injuries. The key to playing well really is relaxing, understanding your body and being comfortable with the piano. You will be amazed how much better one can play when being relaxed always. And remember, a difficult passage played in a difficult manner just sounds difficult and bad. It is the delivering of a complex passage at ease that does magic. A successful pianist is a magician. He enthralls.
What about bad nerves? Feeling disappointed with yourself after a performance or exam always? Perhaps many will advice you that exposures will reduce nerves. Not necessary. You can only be rid of bad nerves when you are totally engrossed with your music and that means singing in your heart, enjoying and believing what you are playing is worth another's time.
There is nevera silly question in class. Ask, think and explore. Email for those seeking understanding and a rewarding rapport with Music.