One common issue piano beginners have is maintaining flexible wrists during their piano playing. In fact, this issue can even be found in many experienced piano players.
This course is designed to drastically transform your piano technique forever for the better. With the aid of videos and exercise book, you will be able to not only learn at your pace but also practice efficiently to improve your piano playing in a short period of time
My technique exercise book (pdf copy): “Technique Transformation Piano Exercise Book” (USD$25 value)
Section 1: Demonstration videos on various techniques with reference to Gyorgy Sandor’s “On Piano Playing” (USD$150 value);
Section 2: Demonstration videos on ALL exercises from technique book (30 exercises) (USD$250 value).
“Solfège”, “solfeggio”, or “so-fa names” – they all refer to the same thing – the system of singing notes of a scale in “Do, Re, Mi, Fa, So, La, Ti”. Remember the song in “The Sound of Music”? Like “do, a deer, a female deer; (Re!) ray, a drop of golden sun”? …
Yes, whenever I introduce the so-fa system to students and teachers, most of them would say, yes, they have heard about do-re-mi. But it’s usually unknown to them where the source of information comes from.
Many students first feel embarrassed to sing in lessons, and often I can feel that they have the question as to why they have to sing in a piano lesson. I usually explain in brief why that would help them with their playing and eventually they start to accept it and get to singing along with me.
For me, singing has been quite natural. Not that I was trained earlier on with singing lessons (I did have some classical vocal lessons later in life), just that I was used to singing in music lessons and choirs. Then I went on playing piano for a lot of singers and also conducting choirs, so for me singing is fun, expressive and liberating- using my own body as the instrument can be a very emotional experience.
Aural training/Sight singing is a very important aspect in music learning in my opinion. In fact, it is such an important part of music training in European conservatories that aural training/sight singing class (using solfège system) is often mandatory.
Not only do I introduce aural training/sight singing early on in our Music on Wings Piano Beginner Course, I also encourage students who are late to the training pick up the habit of singing in solfège. It is super helpful for part singing and recognising chords and cadences in graded music/piano exams (e.g. from grade 6 onwards candidates have to sing a melodic line over a piano accompaniment, to grades 7 and 8 do part singing, identify cadences and chords, modulations etc).
Using solfège system helps students to sing individual notes with more accuracy in pitch as it shows more clearly the relationship between two notes. And there are two ways in general to sing solfège, one, the “Fixed Do” system, and two, the “Movable Do” system.
I myself prefer and teach students the “Movable Do” as it makes much more sense to me musically. In brief, with “Fixed Do”, “Do” is always “C”, no matter what key you are in. With “Movable Do”, “do” is the tonic note. For example, in the key of C Major, “C” is “Do”, but in the key of D Major” “D” is “Do”. There are variations in terms of syllables used throughout the world, but I stick with “Do, Re, Mi, Fa, So, La, Ti, Do”.
One can also use numbers in place of syllables to sing the notes, and it would be “ one, two, three, four, five, six, sev, one” with “seven” shortened for singing purpose. It works too especially for those who haven’t really started with the solfège system, as numbers tell you exactly what degree of the note it is in the scale, and give you a much clearer idea of the relevant interval between two notes (super helpful with identifying chords and cadences). For me it doesn’t work as well since I am too used to using the solfège system already, and besides, I have perfect pitch, so I don’t have to rely on the numbers to know what notes they are (sorry not sorry! but one can still definitely have a fantastic absolute pitch with systematic training).
When it comes to singing music in minor keys, I use “La, Ti, Do, Re, Mi, Fa, Si, La”, with “La” being the tonic note. For example, in the key of A Minor, “A” is “La, and in the key of E minor, “E” is “La”. I know, it’s getting a bit complicated, but when you’re used to the system, it’s really much easier than it sounds (!).
In our Grade 8 Aural Training Comprehensive Training Course, I teach solfège and discuss further about how that helps students sing the bass line, identify cadences and chords, as well as sing the part-singing more efficiently and even more importantly, accurately. Without knowing how to identify individual notes one way or another, it becomes a very confusing task for a lot of candidates who are preparing for ABRSM Grade 8 music exams of any instruments.
Sight singing can be a lot of fun when you know how to approach it. Whether you are a piano student preparing for your grade 8 piano exam, or a piano teacher helping students to learn more effectively in their piano lessons, or a parent wanting to help their kids become more engaged in their music learning journey, singing is wonderful itself and has so much more to offer for instrumental playing. I encourage everyone who hasn’t done much in singing tries their hands in it, and it’s very simple to begin: just start singing the music you’ve been learning in your piano/violin/guitar/clarinet/bass lessons! Start with a line or two and go from there. You can even use pop music, the song sung by your favorite singer/band. Try using so-fa names or numbers and see how you feel about it. There are so much waiting for you to explore in this music learning journey!
We’ve all heard of the phrase, “practice makes perfect”. I sure have, and held onto it for a really long time.
Being a professional musician means that you have to practice hard and long to perfect a piece. But more often than not, “perfection” can become a negative word.
What do I mean by that? Isn’t it what we should strive for, perfection?
I’m not saying we shouldn’t practice hard to know our music so well that we can recite it in our sleep (or maybe dream about it! – I know I have). I actually tried memorizing a piece backward – from the end back to the beginning – to test myself if I knew it well enough for my performance. But maybe that’s a bit too much? I wonder.
Anyway, my point is, sometimes we should focus on the process rather than the result, especially when you as a student – a beginner – or someone who’s just picked up the instrument again after years of hiatus. Who’s a beginner you might ask? Anyone who has less than 5 continuous years’ experience at the instrument would I consider a beginner. And if one didn’t really spend that much time practicing and playing in their years of learning, one could still be a beginner after even 10 years of lessons. A lot of times, we need to plan and achieve small goals, and in terms of the big picture, the many achievement of small goals eventually lead to one big success.
I believe in “practice makes better”. I do want my students to become better at the piano, there’s no doubt about it. But after the many years of teaching and observation, I find that those who focus too much of how well they can play at that moment often lose sight of how well they can become in the future, provided that they keep putting effort and time into their lessons and practice. Unfortunately, those who feel they are not getting better in their playing are those who lose confidence and interest, and eventually, give up on the whole music journey.
I always remember this one adult student, who was (and still is) very passionate about piano playing. He had only a few years of training with me but he showed a lot of promise right from the start. All other adult students were in awe of what he could play in a very short time. Most of all, he had fun and showed a lot of confidence in his playing. At times his performance was not on par, but he didn’t feel bad about it. One subpar performance didn’t deter him from keep going; instead, he moved on and kept doing better in the next performance. Even when he was working overseas, he told me how he would look for a piano to practice. Eventually, he decided to give up on his job and devoted himself into music. Now he works at a music conservatory and competes internationally.
One special thing about him is not about how well he plays or how devoted he is into piano, but rather that he always keeps a good spirit about his playing and doesn’t focus on one slip or two. I believe it’s his positive attitude that keeps him moving forward and progress immensely.
Obviously not everyone wants to become a professional pianist, and I don’t actually care about that. What I truly care about is that my students, no matter young or mature, beginner or advanced, enjoy their playing, their practice, their lessons, and above all, respect that they have their own special journey in music; that sometimes they progress quickly, and other times they would get stuck and feel lost. The only way to move on is to keep going. It’s okay to take a break, but after rest, it’s time to stand up and continue the journey, because, this journey is super beautiful, and it is so worth it.
P.S. I just want to say a special “thank you” to whoever is reading this. This journey for me has been great, a lot of ups and downs, has taken me to so many places in the world and met so many people of diverse cultures and backgrounds. I feel honored to have you read this, follow me, taken/taking lessons from me (as a student, a teacher, or as a parent, in person or online), read/bought my books, watched me videos. No matter what the future brings, I know I have shared with you in all honesty and that I have done something good..