Embedded Files
What you need for each lesson
What you need for each lesson
Your piano scores/books
A 3-ring binder for extra notes and looseleaf scores
- hardcover binders are preferred so that the score stays open
- small-ring binders are preferred as the wide-ring ones may be too big for the stand
A pencil
A notebook
A metronome
Lesson structure
Lesson structure
Typically in a 60-minute lesson, this is how I distribute time towards each area of learning:
15 min Technique
30 min Repertoire
15 min Ear training / Sightreading / Singing / Listening
Students are expected to practice and prepare for the Technique and Repertoire portions of the lesson.
The last 15 minutes of musicianship training will be learned and practiced in the lesson, where the 4 topics will rotate each week. Home practice for this portion is not mandatory, but is greatly encouraged.
Detailed information on my approach and material used for teaching each area is listed below.
Syllabus
Syllabus
Technique
Technique
Below is a list of technique items I require my students to practice at their respective levels. These are not equivalent to the RCM exam syllabus, in fact they are more demanding than the exams. However, I believe in the importance of technical training and that it will produce exponential results in other areas of playing. As listed, there are only Gr. 3, 5, 8, 10, but not other grades in between. I designed it this way so that students in between each graded check point can strive for the higher goal post, ex. students studying Gr. 6 or 7 should be aiming to master the technique items in the Gr. 8 list. You are welcome to download these for your own use.
Besides these technique items, I will also assign etude books according to the student's skill level. These books will be listed under my Repertoire tab below.
Repertoire
Repertoire
In this section, Repertoire refers to any score used for teaching practical piano playing. Below is a non-exhaustive list of books that I assign to my students according to their skill level. This book list should give you an idea of my teaching road map. I do my best to include a diverse selection of pieces in my list, so that my students can be exposed to a variety of styles, while developing their piano technique gradually. Students are always welcome to bring in extra songs and pieces that they are interested in playing to their lessons.
Ear training
Ear training
Below is a list of ear training items I teach and practice with my students at their respective levels. Some items are taken from the RCM exam syllabus, others are additional items that I believe are suitable to cover in their piano lessons. These are meant to supplement regular piano learning only. For exam preparation, please refer to the official RCM exam syllabus. As listed, there are only Gr. 3, 5, 8, 10, but not other grades in between. I designed it this way so that students in between each graded check point can strive for the higher goal post, ex. students studying Gr. 6 or 7 should be aiming to master the ear training items in the Gr. 8 list. You are welcome to download these for your own use.
Sightreading
Sightreading
In music, sightreading refers to reading a new piece of music score for the first time and playing it without practice. This skill is a direct reflection of a musician's overall musical abilities - being a good sightreader means that the musician can read and understand a score very quickly, accurately execute what they just read, and immediately adjust their playing with their sensitive hearing and quick reflexes.
To a professional musician, sightreading is an essential skill. To an intermediate and aspiring musician, sharpening their sightreading skills will bring their musical learning to the next level. To a beginner and amateur musician, improving their sightreading will make playing music much more fun, as they will be able to pick up a new piece of music and learn it very quickly on their own.
In my lessons, I will prepare various exercises for sightreading practice according to each student's skill level. These exercises are mostly taken from the Faber Music and ABRSM curricula. The most efficient way to improve one's sightreading is to keep trying to play new pieces of music, so I encourage all my students to explore new repertoire in their own time!
Singing
Singing
For many people, singing is their first experience in making music as a child. The voice is an instrument that we are born with, and singing is the fastest way for us to learn and understand music. In my singing sessions, I will teach my students how to use solfege, so that they can learn how to sing a new song quickly. I will also teach a variety of songs - some are geared towards teaching the concept of pitch intervals, others for widening their listening/vocal repertoire. For intermediate and advanced students, I will also prepare material for training sight singing. Below is my Singing Syllabus and Song List. Students are encouraged to listen to these songs in their own time.
Listening / Repertoire appreciation
Listening / Repertoire appreciation
Learning music is so much more than just playing the instrument. We can learn a lot by listening to the massive catalogue of classical music throughout history. By immersing ourselves in this repertoire, we get to know the composers' perspectives and learn about the culture that is imbued in their styles. Below is my listening syllabus for each year. Students and parents are encouraged to listen in their own time and research about the composers.
The Royal Conservatory of Music Exams
The Royal Conservatory of Music Exams
Music exams are not mandatory in my studio, but are greatly encouraged for every student to work towards. In Canada, The Royal Conservatory of Music hosts examinations every season, where students are evaluated on a variety of musical skills. For many students, these exams become a challenging yet tangible goal to work towards, which gives them more motivation to learn and practice. Below are a few links for more information.
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