We are now introducing new online courses and taking enrolment until the spaces are all filled.
Here are the courses and short description:
Course 1. How to prepare your students for diploma exams successfully
General criteria of exam requirement and repertoire choice
How to choose pieces for your students
Examples of repertoire choice and general background of genre/pieces
Viva voce questions and preparation
More on viva voce and programme notes
Student project presentation: examples of repertoire choices and viva voce questions
(Class 4/5 are subject to change if most of the teacher students are more inclined to prepare students for Trinity exams instead of ABRSM exams)
Course 2. How to improve your students’ technique
Piano playing and body utilization
Concept of Body weight and weight transfer
Application of body weight and weight transfer
Relation of body weight and weight transfer to arm/hand/finger movement
More elaboration on class 2 concepts
More on weight training and piano technique
Application and examples of different techniques
Student Project presentation: application of techniques with chosen music examples
Course 3. How to analyze and interpret advanced repertoire
General background of musical periods
General development of piano/keyboard instruments
Main genres and their characteristics of keyboard repertoire (Baroque and Classical)
Music examples: form, structure and analysis
Main genres and their characteristics of keyboard repertoire (Classical and Romantic)
Music examples: form, structure and analysis
More on genres and examples of keyboard repertoire
More on background and analysis of keyboard repertoire
Performance practice of each musical period in relation to the development and repertoire of the keyboard instrument
How to analyze and prepare a piece for performance and exam
Student Project presentation: application of knowledge learnt in the course with chosen piece of your own
Total Course time
Each class duration
1 hour in total: 45 minutes’ lecture + 15 minutes’ Q & A session
Total fee per course
Original course fee: $3000
Special course fee for early bird enrolment: $2500
Deadline for early bird enrolment: September 8, 2017
Deadline for all enrolment: September 20, 2017
Commencement of courses (Class 1):
Course 1: September 22 Friday 11am
Course 2: September 21 Thursday 10am
Course 3: September 21 Thursday 11am
Note: We might have more course times if there are more students than open spaces in any of the courses and if students are unavailable at the schedule given above. Contact us directly to request more schedule details.
Pay via PayPal or bank transfer to our HSBC account. (Details will be given after your enrolment – 100% confirmation of your enrolment will be completed after we have received your payment)
We are also organizing a new course to train new teachers to teach Miss Wong’s piano technique method, so that you can train your students to become a more accomplished performer with avid interest in learning music and playing the piano with confidence, control and dexterity! Stay tuned for this course.
how to practice a fugue?
1.play each voice separately.
e.g. if there are four voices,
Step 1. play only soprano voice
Step 2. play only alto voice
Step 3. play only tenor voice
Step 4. play only bass voice
2. Play two voices together
Step 5. play soprano and alto voices
Step 6. play tenor and bass voices
Step 7. play soprano and bass voices
Step 8. play alto and tenor voices
It’s very important to hear firstly each individual voice before practicing them together.
The concept is very simple:
Imagine a fugue is played by a string ensemble, so it would be first violin + second violin + viola + cello. Do they practice together without practicing on their own? No! Only now YOU the pianist has to play every single line together yourself. Therefore, if you really want to know the voices well, you must practice listening and playing each of them separately. In the course of learning each voice, you get to understand how each of them works and how it sounds. Then, when you put them together, you would find it much easier to hear each voice and bring out whatever musical patterns you need to according to the importance of them respectively.
The same concept can be applied to practicing any polyphonic writing or simply, left hand-right hand situation. In order for the voices / two hands to coordinate well together in harmony and balance, they must be able to perform on their own terms first. And to be able to perform on their own terms first, you must train them to do so separately. Often that’s the solution students miss out on taking (“too boring!” “too much time!”), and that’s the main reason why they don’t get familiarised with the piece they have been working on even for a long period of time. Drilling without strategy on how to practice and precision on details will never get to the point where one truly knows about the piece albeit hours spent at the piano.